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Examensarbetets titel: Tomma ord som väger tungt Seminariedatum: 30 Maj 2024 Kurs: FEKH49 - Examensarbete i organisation på kandidatnivå, 15 högskolepoäng Författare: Ebba Sjögren, Elvira Christensson, Lovisa Friefeldt Handledare: Nadja Sörgärde Fem nyckelord: Värden, värdegrund, värdegrundsarbete, distraktion, symbolism Forskningsfrågor: Hur upplever högt uppsatta chefer på AstraZeneca företagets värdegrund? och Vilken funktion har värdegrunden för högt uppsatta chefer inom AstraZeneca? Syfte: Genom att undersöka och analysera hur högt uppsatta chefer på AstraZeneca upplever företagets värdegrund, syftar denna studie till att bidra med en mer nyanserad bild av vilken betydelse en värdegrund kan ha för chefer. Metod: För att uppnå syftet med studien har en kvalitativ intervjustudie med ett semistrukturerat intervjuförfarande genomförts med åtta chefer på AstraZeneca. Studien utgår ifrån ett socialkonstruktionistisk synsätt samt antar en abduktiv ansats. Teoretiska perspektiv: Det teoretiska perspektivet tar sin utgångspunkt i tidigare forskning gällande värden, värdegrundsarbete och olika strömningar inom fältet. Resultat: Det empiriska materialet visar att högt uppsatta chefer ställer sig positivt till AstraZenecas värdegrund då de förklarar den som vägvisande, förenande och motiverande. Däremot impliceras mellan raderna att värdegrunden lämnar rum för tolkning. Slutsats: Chefernas upplevelser visar ett stort engagemang och entusiasm för företagets värdegrund. Studien mynnar ut i tre huvudsakliga funktioner som värdegrunden har för dem: värdegrund som nyckel till makt, värdegrund som framgångssaga och värdegrund som distraktion., Title: Empty words that weigh heavy Seminar date: May 30th, 2024 Course: FEKH49 - Bachelor’s degree thesis in Management and Organization, 15 credits. Authors: Ebba Sjögren, Elvira Christensson, Lovisa Friefeldt Supervisor: Nadja Sörgärde Keywords: Values, value system, core values, distraction, symbolism Research question: How do senior executives at AstraZeneca perceive the company’s values? and What function does the company values have for senior executives at AstraZeneca? Purpose of study: By examining and analyzing how senior executives at AstraZeneca perceive the company's core values, this study aims to contribute to a more nuanced understanding of the significance core values can hold for executives. Methodology: In order to achieve the aim of the study, a qualitative interview study with a semi-structured interview procedure has been carried out with eight different managers at AstraZeneca. The study thus adopts a social constructionist perspective and an abductive approach. Theoretical perspectives: The theoretical perspective is based on previous research regarding values, value-based work and various studies within the field. Result: The empirical material shows that senior executive managers have a positive attitude towards AstraZeneca's core values as they explain them as guiding, unifying and motivating. On the other hand, it is implied between the lines that the core values leave room for interpretation. Conclusions: The experiences of the managers demonstrate a strong commitment and enthusiasm for the company's core values. The study leads to three main functions that the core values serve for them: core values as a key to power, core values as a success story, and core values as a distraction.

El presente artículo tiene como objetivo estudiar la construcción de tres espacios escénicos de la adaptación teatral de Doña Perfecta (1896) en relación con los espacios originales que se presentan en la novela de 1876. Se compararán los espacios de la adaptación con los de la obra original, con el fin de analizar los cambios que Galdós introduce en los espacios y la influencia de estos en el desarrollo del drama. En primer lugar, se estudiará el espacio del jardín de doña Perfecta, un locus amoenus invertido con una gran carga simbólica tanto en la novela como en el drama; por otro lado, analizaremos las últimas escenas del segundo acto de la obra, que corresponden al capítulo XVII de la novela, y que ya no tienen lugar en la capilla de la casa. Por último, estudiaremos las escenas que giran en torno a doña Perfecta y Rosario en el último acto, que no existían en la novela. Además, a lo largo de todo el estudio se analizará la presencia de luces y sombras como elemento fundamental de estos espacios, por un lado, símbolo de la ciencia y la muerte, y por otro lado mecanismo que el autor emplea para expresar la realidad interior de los personajes. Este análisis del drama nos permitirá, a su vez, acercarnos a la influencia del teatro simbolista en la producción dramática de Benito Pérez Galdós., The following article aims to study the configuration of scenic spaces in the theatrical adaptation of Doña Perfecta (1896), of Pérez Galdós, in relation to the original spaces shown in the 1876 novel. We will compare the adaptation’s scenic spaces with those of the original, with the intention of analyzing the changes Galdós introduces regarding scenic spaces and the influence of these in the plot. Firstly, we will study the garden of doña Perfecta’s house, an inverted locus amoenus with a huge symbolic significance both in the novel and in the drama; on the other hand, we will analyze the last scenes of act II, which correspond to chapter XVII in the novel, and that no longer take place in the house’s oratory. Lastly, we will study the scenes in the last act of the play that are centered around doña Perfecta and Rosario, which didn’t exist in the novel. Furthermore, throughout the whole article, we will study the presence of lights and shadows as a key element of these spaces, symbolizing the battle between science and death, and on the other hand as a mechanism the author uses in order to express the character’s innermost feelings. This analysis of the drama will also help us approach the influence of symbolist plays in the dramatic works of Benito Pérez Galdós.

La androginia es uno de los motivos más recurrentes del arte y de la literatura desde el Romanticismo, pero la cultura de finales del siglo XIX y principios del siglo XX lo consagra como expresión quintaesenciada de un mundo en crisis y de una sociedad decadente. Los artistas y escritores de la época simbolista reivindican esta visión heterodoxa de la sexualidad y plantean el asunto, no tanto en relación con sus orígenes mitológicos y antropológicos –la restauración de una supuesta unidad perdida del ser auténtico–, sino como reacción espiritual frente a la objetividad positivista y como afirmación de una identidad disidente –superadora de las convenciones morales– que persigue convertir la vida en artificio. En este artículo se propone un recorrido por el arte y la literatura europea del fin de siècle, con especial atención a la poesía modernista española, para evidenciar la relevancia del tema y su relación con las transformaciones estéticas y sociales que allanan el camino hacia la modernidad., Androgyny is one of the most recurrent motifs in art and literature since Romanticism, but the culture of the late nineteenth and early twentieth centuries consecrated it as a quintessential expression of a world in crisis and a decadent society. The artists and writers of the Symbolist period reclaimed this heterodox vision of sexuality and approached the subject, not so much in relation to its mythological and anthropological origins –the restoration of a supposedly lost unity of the authentic self– but as an aesthetic reaction to positivist objectivity and as an affirmation of a dissident identity –overcoming moral conventions– that sought to turn life into artifice. This article proposes a survey of European fin de siècle art and literature, with special attention to Spanish modernist poetry, in order to highlight the relevance of the subject and its relationship with the aesthetic and social transformations that paved the way towards modernity.

The purpose of this thesis is to analyze how baptism and rebirth are symbolically represented in the conversation with Nicodemus in the Gospel of John 3:1-21. The thesis examines how the deeper meaning of baptism is clarified through the symbolism that emerges. The Gospel of John is the gospel that most explicitly uses symbols to convey the author's intended message. The focus is not on recounting an event but rather on highlighting words and statements, often in symbolic form, that clarify the meaning of Jesus' teachings. With the help of mainly Craig R. Koesters (2003) methods of analyzing symbols in the Gospel of John, this thesis goes through several symbols which appear in the conversation with Nicodemus, such as water, light, darkness and night. It also analyzes the so called “misunderstandings” and “aporias” in the text as symbols in themselves. In John 3:1-21, Jesus develops thoughts on the relationship between humanity and God, and the path to what is referred to as the Kingdom of God. In the encounter with the enigmatic and confused Pharisee Nicodemus, Jesus is compelled to explain, through a series of symbols, what is central for humanity in relation to God and the Kingdom of Heaven. When we imagine the voice of God, we move beyond what is fully comprehensible. Symbols speak to us humans with a language that lies somewhere between words and images. They appear in all art forms and carry meanings across cultural boundaries. They appeal to logic, emotion, imagination, and intuition. Symbols have the capacity to create connections between the divine and the human. The symbolism of baptism is constantly challenging and ever relevant. We need symbols to be able to explain the meaning of baptism in practical situations. We need symbols to create images for ourselves of what baptism entails. Symbols have the ability to give our thoughts the freedom of inspiration and the guidance of the Spirit that is necessary to approach the mystery of baptism.

Introduction. The thesis is about the literature work on psychology that Carl Jung developed throughout his life, in the subjects of psychoanalysis, spirituality and alchemy. The main question of this thesis is to define the archetype of God in the Jungian literature and how it is transformed in his works during his life. Method. The text analysis was conducted using a suite of specialized applications to ensure thorough and precise examination of the textual data. Initially, AntConc and TagAnt were employed to tag and clean the textual data. AntConc, a corpus analysis toolkit, enabled the detailed examination of word frequency, concordances, and collocations. TagAnt was instrumental in annotating the text, which involved tagging parts of speech and other linguistic features, thus enhancing the clarity and accuracy of the data. Following this, Voyant was utilized to generate comprehensive analytical results from the processed books. This tool facilitated the visualization and exploration of text patterns and trends, providing an essential overview of the textual content. Analysis. The English-language books were cleaned by removing non-authorial content, including editorial and translator texts. Key words were selected based on frequency and relevance to Jung's main concepts. Distant reading was complemented with close reading, focusing on religious and spiritual archetypes, symbolism, and cultural aspects of the universal God archetype. Results. This study examines the evolution of the God archetype in Carl Jung's work using text analysis and distant reading methodologies via the Voyant application. The analysis reveals that Jung's conception of the God archetype evolved significantly, influenced by his personal experiences and theoretical developments. His writings highlight religious themes and the interplay between the unconscious and divine symbols. Early texts frequently used terms like "man" and "human," foundational to later concepts such as the Self, Anima

This thesis aims to examine how the philosophy of Arcadia is portrayed compared to three paintings from Nationalmuseums exhibition Arkadien: ett förlorat paradis? Firstly, the essay creates a frame for what Arcadia should look like and communicate by analyzing three established Arcadia-motifs with the same title, Et in Arcadia ego by Nicolas Poussin from 1638 and 1627, and Guercino from ca 1620. The framework shows that Arcadia contains three dominating themes, which are the presence of antiquity, the pastoral ideal and the presence of Death. The framework also shows that Arcadia aims to have a clear communication with the viewer by using direct symbols and double linguistic messages. Secondly, the essay compares Poussins and Guercino's Arcadia with Nationalmuseums Claude Lorrains Landskap med Argus som vaktar Io (ca 1644–1645), Francois Només (1593-ca 1645) Trojas brand med Aeneas och Anchises flykt (u.å) and Thomas Blanchets Kleobis och Biton (1650). The results are that Nationalmuseum has a different view of Arcadia compared to Poussin and Guercino, and uses it as an elastic concept, which can categorize paintings that don't fully communicate Arcadia's original thoughts and ideas as truthfully Arcadia-motifs.

In the realm of literature, childhood serves as a fertile ground for exploration, offering insights into innocence, wonder, and growth. This paper delves into the representations of childhood concepts in two iconic works of children's literature: The Chronicles of Narnia by C.S. Lewis and Alice's Adventures in Wonderland by Lewis Carroll. The research question guiding this study is: What childhood concepts are identifiable in these texts, and how are they represented? Through a comparative analysis grounded in Freudian theory, the paper examines innocence, resilience, development, emotional intelligence, imagination, morality, and ethos within the narratives. Drawing upon a rich array of childhood themes and literary elements, the study explores the significance of childhood representations and their broader implications for education and pedagogy. By uncovering underlying meanings and implications related to childhood representation, the paper aims to deepen our understanding of the role of childhood in shaping literary narratives and its broader significance in educational and social contexts. Through this exploration, we embark on a journey into the enigmatic realm of childhood, where imagination, symbolism, and storytelling converge to illuminate the human experience and rediscover the inner child., Masterarbeit Universität Innsbruck 2024

The purpose of this thesis is to analyze how baptism and rebirth are symbolically represented in the conversation with Nicodemus in the Gospel of John 3:1-21. The thesis examines how the deeper meaning of baptism is clarified through the symbolism that emerges. The Gospel of John is the gospel that most explicitly uses symbols to convey the author's intended message. The focus is not on recounting an event but rather on highlighting words and statements, often in symbolic form, that clarify the meaning of Jesus' teachings. With the help of mainly Craig R. Koesters (2003) methods of analyzing symbols in the Gospel of John, this thesis goes through several symbols which appear in the conversation with Nicodemus, such as water, light, darkness and night. It also analyzes the so called “misunderstandings” and “aporias” in the text as symbols in themselves. In John 3:1-21, Jesus develops thoughts on the relationship between humanity and God, and the path to what is referred to as the Kingdom of God. In the encounter with the enigmatic and confused Pharisee Nicodemus, Jesus is compelled to explain, through a series of symbols, what is central for humanity in relation to God and the Kingdom of Heaven. When we imagine the voice of God, we move beyond what is fully comprehensible. Symbols speak to us humans with a language that lies somewhere between words and images. They appear in all art forms and carry meanings across cultural boundaries. They appeal to logic, emotion, imagination, and intuition. Symbols have the capacity to create connections between the divine and the human. The symbolism of baptism is constantly challenging and ever relevant. We need symbols to be able to explain the meaning of baptism in practical situations. We need symbols to create images for ourselves of what baptism entails. Symbols have the ability to give our thoughts the freedom of inspiration and the guidance of the Spirit that is necessary to approach the mystery of baptism.

Introduction. The thesis is about the literature work on psychology that Carl Jung developed throughout his life, in the subjects of psychoanalysis, spirituality and alchemy. The main question of this thesis is to define the archetype of God in the Jungian literature and how it is transformed in his works during his life. Method. The text analysis was conducted using a suite of specialized applications to ensure thorough and precise examination of the textual data. Initially, AntConc and TagAnt were employed to tag and clean the textual data. AntConc, a corpus analysis toolkit, enabled the detailed examination of word frequency, concordances, and collocations. TagAnt was instrumental in annotating the text, which involved tagging parts of speech and other linguistic features, thus enhancing the clarity and accuracy of the data. Following this, Voyant was utilized to generate comprehensive analytical results from the processed books. This tool facilitated the visualization and exploration of text patterns and trends, providing an essential overview of the textual content. Analysis. The English-language books were cleaned by removing non-authorial content, including editorial and translator texts. Key words were selected based on frequency and relevance to Jung's main concepts. Distant reading was complemented with close reading, focusing on religious and spiritual archetypes, symbolism, and cultural aspects of the universal God archetype. Results. This study examines the evolution of the God archetype in Carl Jung's work using text analysis and distant reading methodologies via the Voyant application. The analysis reveals that Jung's conception of the God archetype evolved significantly, influenced by his personal experiences and theoretical developments. His writings highlight religious themes and the interplay between the unconscious and divine symbols. Early texts frequently used terms like "man" and "human," foundational to later concepts such as the Self, Anima

This thesis aims to examine how the philosophy of Arcadia is portrayed compared to three paintings from Nationalmuseums exhibition Arkadien: ett förlorat paradis? Firstly, the essay creates a frame for what Arcadia should look like and communicate by analyzing three established Arcadia-motifs with the same title, Et in Arcadia ego by Nicolas Poussin from 1638 and 1627, and Guercino from ca 1620. The framework shows that Arcadia contains three dominating themes, which are the presence of antiquity, the pastoral ideal and the presence of Death. The framework also shows that Arcadia aims to have a clear communication with the viewer by using direct symbols and double linguistic messages. Secondly, the essay compares Poussins and Guercino's Arcadia with Nationalmuseums Claude Lorrains Landskap med Argus som vaktar Io (ca 1644–1645), Francois Només (1593-ca 1645) Trojas brand med Aeneas och Anchises flykt (u.å) and Thomas Blanchets Kleobis och Biton (1650). The results are that Nationalmuseum has a different view of Arcadia compared to Poussin and Guercino, and uses it as an elastic concept, which can categorize paintings that don't fully communicate Arcadia's original thoughts and ideas as truthfully Arcadia-motifs.

Teorin om “cirkulär ekonomi” (CE) är baserad på att effektivare tillvarata resurser, genom att återanvända material och komponenter inom “cirkulära” system, anses den vara ett alternativ till den linjära produktionsmodellen som har bidragit till dagens miljöproblematik. Det finns dock kritik mot teorin om “cirkulär ekonomi” (CE), den anses vara vag och främst är driven av en teknologisk och ekonomisk agenda, utan tillräcklig hänsyn till de sociala och kulturella faktorer som driver konsumtionen i samhället. Innovationen av elbilar har framstått som en del i lösningen av miljöproblematiken och strävar efter att på sikt bli den nya fordonsnormen i samhället. Trots positiva klimatfördelar utmanas aktörer fortfarande i att skapa incitament för konsumenter att investera i elbilar och främja en mer “cirkulär” fordonsindustri. Genom att analysera cirkulär ekonomi inom en “postmodernistisk kontext” och med användning av “konsumentkulturteori” (eng. “Consumer Culture Theory”, CCT) som en del av studiens ramverk syftar denna uppsats till att ge en djupare förståelse för hur symboliska och kulturella värden påverkar implementeringen av cirkulär ekonomi. Genom att använda elbilar som ett exempel på cirkulär ekonomi studerades konsumenternas bakomliggande drivkrafter till förvärvet. Dessutom genomfördes en noggrann analys av elbilens bidrag till den cirkulära ekonomin för att försöka förstå vad det innebär för en produkt att vara helt “cirkulär”. Genom en kvalitativ forskningsmetod utfördes telefonintervjuer med sju elbilsägare för att utforska deras erfarenheter av elbilar. Resultaten från studien visar att motiven för att investera i elbilar främst härrör från symboliska, tekniska eller ekonomiska faktorer som bidrar till respondenternas sociala status i samhället. Genom att respondenterna baserar valet av konsumtion av elbilar på känslor av lyx eller ekonomiska fördelar, snarare än att konsumtionen baseras utifrån miljömässiga faktorer, har det stärkt uppfattningen att sociok, At the core of the theory of the “circular economy” (CE) is efficient resource-management. Effectively reusing material and components in a “circular system” serves as an alternative to the linear production model that has caused environmental concerns. Implementing a “circular economy” (CE) is, however, hampered by criticism since it is too vague a theory, pursuing a technological and economic agenda and therefore not taking into account the many social and cultural factors that drive consumption in society. The innovation of electric cars is seen as a part of the solution to the environmental problems. But even with a positive climate approach, it still seems to be a challenge for actors to create incentives for consumers to start investing in electric cars and move towards a more “circular” car industry. Within the context of postmodernism and “consumer culture theory” (CCT), this thesis focuses on how symbolic and cultural values in consumers affect the implementation of a circular economy. Using electric cars as an example of circular economy production, the thesis aims at investigating what makes consumers purchase an electric vehicle. In the same context, a deeper analysis of the electric cars contribution to the circular economy was conducted to understand what it means for a product to be fully “circular”. By employing a qualitative research methodology, phone interviews were conducted to explore the respondents experience of electrical cars. Findings from this research reveal that the motivation to buy electric cars predominantly stem from symbolic, technical, or economic values that contribute to the respondent’s social status in society. The choice to consume electric cars is driven by needs of luxury or economic benefits rather than environmental concerns. This strengthens the notion that sociocultural factors can lead to inertia regarding the implementation of a more resource-efficient circular economy. The respondents believe that electric cars can ma

Teorin om “cirkulär ekonomi” (CE) är baserad på att effektivare tillvarata resurser, genom att återanvända material och komponenter inom “cirkulära” system, anses den vara ett alternativ till den linjära produktionsmodellen som har bidragit till dagens miljöproblematik. Det finns dock kritik mot teorin om “cirkulär ekonomi” (CE), den anses vara vag och främst är driven av en teknologisk och ekonomisk agenda, utan tillräcklig hänsyn till de sociala och kulturella faktorer som driver konsumtionen i samhället. Innovationen av elbilar har framstått som en del i lösningen av miljöproblematiken och strävar efter att på sikt bli den nya fordonsnormen i samhället. Trots positiva klimatfördelar utmanas aktörer fortfarande i att skapa incitament för konsumenter att investera i elbilar och främja en mer “cirkulär” fordonsindustri. Genom att analysera cirkulär ekonomi inom en “postmodernistisk kontext” och med användning av “konsumentkulturteori” (eng. “Consumer Culture Theory”, CCT) som en del av studiens ramverk syftar denna uppsats till att ge en djupare förståelse för hur symboliska och kulturella värden påverkar implementeringen av cirkulär ekonomi. Genom att använda elbilar som ett exempel på cirkulär ekonomi studerades konsumenternas bakomliggande drivkrafter till förvärvet. Dessutom genomfördes en noggrann analys av elbilens bidrag till den cirkulära ekonomin för att försöka förstå vad det innebär för en produkt att vara helt “cirkulär”. Genom en kvalitativ forskningsmetod utfördes telefonintervjuer med sju elbilsägare för att utforska deras erfarenheter av elbilar. Resultaten från studien visar att motiven för att investera i elbilar främst härrör från symboliska, tekniska eller ekonomiska faktorer som bidrar till respondenternas sociala status i samhället. Genom att respondenterna baserar valet av konsumtion av elbilar på känslor av lyx eller ekonomiska fördelar, snarare än att konsumtionen baseras utifrån miljömässiga faktorer, har det stärkt uppfattningen att sociok, At the core of the theory of the “circular economy” (CE) is efficient resource-management. Effectively reusing material and components in a “circular system” serves as an alternative to the linear production model that has caused environmental concerns. Implementing a “circular economy” (CE) is, however, hampered by criticism since it is too vague a theory, pursuing a technological and economic agenda and therefore not taking into account the many social and cultural factors that drive consumption in society. The innovation of electric cars is seen as a part of the solution to the environmental problems. But even with a positive climate approach, it still seems to be a challenge for actors to create incentives for consumers to start investing in electric cars and move towards a more “circular” car industry. Within the context of postmodernism and “consumer culture theory” (CCT), this thesis focuses on how symbolic and cultural values in consumers affect the implementation of a circular economy. Using electric cars as an example of circular economy production, the thesis aims at investigating what makes consumers purchase an electric vehicle. In the same context, a deeper analysis of the electric cars contribution to the circular economy was conducted to understand what it means for a product to be fully “circular”. By employing a qualitative research methodology, phone interviews were conducted to explore the respondents experience of electrical cars. Findings from this research reveal that the motivation to buy electric cars predominantly stem from symbolic, technical, or economic values that contribute to the respondent’s social status in society. The choice to consume electric cars is driven by needs of luxury or economic benefits rather than environmental concerns. This strengthens the notion that sociocultural factors can lead to inertia regarding the implementation of a more resource-efficient circular economy. The respondents believe that electric cars can ma

The Scriptures contain a theology of dung. When the semantic and conceptual cognates that pertain to dung are synthesized, the result is a scriptural scatology whereby dung is presented as a symbol for sin. To clarify, the biblical exhibition of dung presents excrement as a central symbol employed by Scripture to concretize the abstract nature of sin. When each semantic and conceptual cognate that pertains to dung is examined, in nearly every instance where dung is mentioned, sin is in close proximity. The recognition of the dung–sin symbol enlightens particular aspects related to the nature of sin, which mirrors the physical production, elimination, and basic attitudes regarding dung. The illumination of the nature of sin can be seen specifically in the aspects of rejection, ejection, mockery, and disgust. Additionally, the Scriptures present the dung–sin symbol link in a trifold manner. First, the dung–sin symbol communicates that just as dung is created through a bodily process that involves rejection and ejection (elimination), the nature of sin itself also contains the twin concepts of rejection and ejection. Second, the dung–sin symbol communicates a scriptural attitude concerning sin — one of mocking revilement — which ironically involves rejection and ejection by both the divine and human. Third, the revelation of the dung–sin symbol also contains a depiction of grace which corresponds to elimination and attitude. Of the latter, cognizance of how Scripture views sin acts as a deterrent of commitment; of the former, the elimination of sin — mirroring the bodily process of rejection and ejection — brings forth restoration.

Death has remained a prominent and universal theme in English poetry. From the anonymous poems composed during the Old English Period, to the works of pre-Romantics, War poets and Modern poets, mortality has served as a unifying theme in English poetry. Elegy has remained an important form within the genre, lamenting the loss of an individual. Poets have dealt with the theme of death differently with some finding consolation in religious belief of afterlife to others seeing it as an indispensable aspect of life. Maya Angelou, an African American poet, has dealt with the theme of loss in few of her notable poems. The present paper aims to discuss death as an important theme in Angelou's “When Great Trees Fall” and ‘The Lesson”. The paper will further investigate Angelou’s use of language in the poems to express the emotion of loss and grief. It will also try to give insight into Angelou’s philosophy of life and death, and how she overcomes loss in her life.

Death has remained a prominent and universal theme in English poetry. From the anonymous poems composed during the Old English Period, to the works of pre-Romantics, War poets and Modern poets, mortality has served as a unifying theme in English poetry. Elegy has remained an important form within the genre, lamenting the loss of an individual. Poets have dealt with the theme of death differently with some finding consolation in religious belief of afterlife to others seeing it as an indispensable aspect of life. Maya Angelou, an African American poet, has dealt with the theme of loss in few of her notable poems. The present paper aims to discuss death as an important theme in Angelou's “When Great Trees Fall” and ‘The Lesson”. The paper will further investigate Angelou’s use of language in the poems to express the emotion of loss and grief. It will also try to give insight into Angelou’s philosophy of life and death, and how she overcomes loss in her life.

This paper explores the representation and negotiation of power systems in John Steinbeck’s famous book “The Grapes of Wrath” by using a postcolonial framework. This study seeks to identify the manner in which questions of power, oppression, and resistance are depicted in the book by analyzing its themes of symbolism, realism, and naturalism through the lens of postcolonial theory. This study examines the symbolic meaning of people, situations, and events connected to hegemonic systems and colonial legacies through rigorous textual analysis. Additionally, it explores how the novel’s naturalism and realism illuminate the historical, socio-economic and environmental surroundings, emphasizing the connection between systemic inequality and power dynamics. This study clarifies how colonial ideas sustain exploitation and disenfranchisement by examining the experiences of marginalized groups, including tenant farmers, migrant labourers, and indigenous communities. Finally, this study advances our knowledge of how literature can be a platform for opposing and criticizing established power systems. It provides insights into the resilience and resistance strategies used by marginalized people.

This paper explores the representation and negotiation of power systems in John Steinbeck’s famous book “The Grapes of Wrath” by using a postcolonial framework. This study seeks to identify the manner in which questions of power, oppression, and resistance are depicted in the book by analyzing its themes of symbolism, realism, and naturalism through the lens of postcolonial theory. This study examines the symbolic meaning of people, situations, and events connected to hegemonic systems and colonial legacies through rigorous textual analysis. Additionally, it explores how the novel’s naturalism and realism illuminate the historical, socio-economic and environmental surroundings, emphasizing the connection between systemic inequality and power dynamics. This study clarifies how colonial ideas sustain exploitation and disenfranchisement by examining the experiences of marginalized groups, including tenant farmers, migrant labourers, and indigenous communities. Finally, this study advances our knowledge of how literature can be a platform for opposing and criticizing established power systems. It provides insights into the resilience and resistance strategies used by marginalized people.

Judy Chicago’s art installation The Dinner Party celebrates historical women and theirachievements, and is considered one of the first epic feminist art pieces. Although The Dinner Party’s huge popularity, Judy Chicago received a lot of criticism regarding her feministagenda and her choices about which women are included in The Dinner Party and how theyare portrayed. The aim of this essay is to explore how The Dinner Party was received in thesecond wave of feminism that it was produced during, what it has meant for the feministmovement and for feminist art through a historical background, contextualize and nuance thecriticism, while also analyzing whether The Dinner Party would still be considered asfeminist art in today’s modern society. The essay is also focused on the symbolism in the artinstallation, the ceramics and the crafts, with help from Roland Barthes method for semioticimage analysis.

This thesis aims to answer the question of how the library is represented in the Librarian franchise, not only focusing on the films/tv-series but also how it is represented in print. The analysis of the library representation uses a background of the theory and method found in semiotics and iconography, as well as qualitative content analysis, to examine not only the literal/denoted representation, but also the symbolic/connoted, and then compar-ing these findings to the representation of libraries and librarians (with a focus on the stereotypes) found in former research on the subject. The libraries depicted in this franchise all adhere to the stereotypes in some ways, especially the grandeur or spaciousness, at times labyrinthine but there is always someone experienced to ask to help find what you are looking for. The library is represented in a positive light, it is not a place to be feared, it is a place of knowledge and adventure. The characters see these libraries as home or as a social “hub” for the community, they are signs of safety, comfort, and peaceful entertainment. A world without libraries is depicted as a dystopian nightmare. In the franchise there are some characters that can be interpreted as personification of the Library, in this thesis I am focusing on Judson, Charlene, and Ray (the spirit of the library), all of which embody several of the librarian stereotypes, such as intelligence and order, these characters signify in various ways how much the library depends on librarians. In conclusion, this franchise, although unrealistic, shows that the library does not have to be a boring place, and neither does the librarian profession. This is a two years master’s thesis in Library and Information Science., Målet med denna uppsats är att besvara frågan hur biblioteket representeras i Librarian-franchisen, inte bara hur det representeras i filmerna/tv-serien men också hur det representeras i de tryckta berättelserna. I analysen av biblioteksrepresentationen använder jag mig av teoretiska utgångspunkter och metodik från semiotik och ikonografi samt kvalitativ innehållsanalys, för att utforska både den bokstavliga/denoterade representationen och den symboliska/konnoterade, och sedan jämföra resultatet med hur tidigare forskning beskrivit biblioteks- och bibliotekarierepresentationen (med fokus på stereotyper) i fiktion. Alla biblioteken som representeras i denna franchise kopplas till viss del ihop med biblioteksstereotyperna, speciellt prakt och rymlighet, och ibland även labyrinter men det finns alltid någon erfaren att fråga om hjälp för att hitta det du söker. Biblioteken är positivt representerade i denna franchise, biblioteket är inte en skrämmande plats, det är en plats som symboliserar kunskap och äventyr. Karaktärerna ser biblioteket som ett hem eller ett socialt nav, biblioteket symboliserar säkerhet, bekvämlighet och stillsam underhållning. En värld utan biblioteken representeras i serien som en dystopisk mardröm. I denna franchise går det att finna några karaktärer som inte bara är bibliotekarierepresentationer men också agerar som personifikationer av biblioteket, i denna uppsats har jag valt att fokusera på Judson, Charlene och Ray (bibliotekets ande), som alla faller in i flera bibliotekariestereotyper, exempelvis intelligens och ordningsamhet. Dessa karaktärer signifierar även på olika sätt hur mycket biblioteket är beroende av bibliotekarier. Slutligen visar denna franchise, trots dess surrealism, att biblioteket inte måste vara en tråkig plats, och bib-liotekarieyrket behöver inte heller vara tråkigt. Detta är en två års masteruppsats i biblioteks- och informationsvetenskap.

Judy Chicago’s art installation The Dinner Party celebrates historical women and theirachievements, and is considered one of the first epic feminist art pieces. Although The Dinner Party’s huge popularity, Judy Chicago received a lot of criticism regarding her feministagenda and her choices about which women are included in The Dinner Party and how theyare portrayed. The aim of this essay is to explore how The Dinner Party was received in thesecond wave of feminism that it was produced during, what it has meant for the feministmovement and for feminist art through a historical background, contextualize and nuance thecriticism, while also analyzing whether The Dinner Party would still be considered asfeminist art in today’s modern society. The essay is also focused on the symbolism in the artinstallation, the ceramics and the crafts, with help from Roland Barthes method for semioticimage analysis.

El presente trabajo de fin de grado se adentra en el estudio de dos elementos poderosos y recurrentes en la creación artística: lo siniestro y la muerte. A lo largo de la investigación, se analiza cómo estos temas han sido utilizados como recursos expresivos en diversas manifestaciones artísticas a lo largo de la historia. El objetivo principal es explorar cómo el arte ha empleado estos dos géneros como medios para transmitir emociones intensas, provocar reacciones en el espectador y abordar cuestiones profundas relacionadas con la existencia humana. Se examinan obras clave de diferentes épocas y movimientos artísticos, desde los inicios de la civilización hasta el arte contemporáneo, con el fin de comprender las variadas formas en que estos recursos han sido utilizados y sus distintas intenciones discursivas a lo largo de los años. A través del análisis de estas obras, se busca desvelar los simbolismos, metáforas y representaciones visuales asociadas a la muerte. Se explora cómo estos elementos se han utilizado para reflexionar sobre la fragilidad de la vida, la transitoriedad de la existencia, los miedos y las angustias humanas., This undergraduate thesis delves into the study of two powerful and recurring elements in artistic creation: the uncanny and death. Throughout the research, we analyze how these themes have been used as expressive resources in various artistic forms throughout history. The main objective is to explore how art has employed these two genres as means to convey intense emotions, provoke reactions in the viewer, and address profound questions related to human existence. We examine key works from different periods and artistic movements, from the beginnings of civilization to contemporary art, in order to understand the diverse ways in which these resources have been used and their different discursive intentions over the years. Through the analysis of these works, we aim to uncover the symbolism, metaphors, and visual representations associated with death. We explore how these elements have been used to reflect on the fragility of life, the transience of existence, and human fears and anxieties.

Hofmannsthals Alkestis (1894) stellt den ersten vollendeten Versuch des österreichischen Dichters dar, die Tragödie der griechischen Antike aus der Starrheit philologischer Bühnenbearbeitungen zu lösen und für das moderne Empfinden neu zu beleben. Durch die metaphernreiche lyrische Sprache schafft Hofmannsthal ein Werk, das sich eindeutig in die künstlerischen Stilrichtungen des Fin de Siècle einreiht. Gleichzeitig bietet die neue symbolistisch gefärbte Alkestis einen wichtigen Beitrag zur zeitgenössischen Reflexion des Dichters über das Wesen von Mythos und Metapher

Este estudio aborda la significación y exégesis de términos procedentes del ideario lorquiano en la trilogía rural Bodas de sangre, Yerma y La casa de Bernarda Alba, focalizando el análisis en el léxico y en las acepciones simbólicas atribuidas a las voces o expresiones. Concomitante a este propósito, se presenta una planta lexicográfica que muestra el método que se ha llevado a cabo para crear el Diccionario de símbolos lorquianos y que presenta un marco teórico con conceptos en los que se basa la autoría y la conformación de su cosmos terminológico. Este trabajo de investigación tiene el objetivo principal de demostrar la originalidad de Federico García Lorca y de su universo simbólico sobre la lengua a través de los diferentes motivos o elementos que se derraman por sus obras como un caudal inmenso de términos e interpretaciones adyacentes., This study examines the meaning of Federico García Lorca's terminology and his universe within the rural trilogy: Bodas de sangre, Yerma and La casa de Bernarda Alba, focusing the analysis on lexicon and symbolic meanings attributed to words or expressions. According to this aim, a lexicographic plant is presented and it shows the method that has been carried out to create the Dictionary of Lorquian symbols. It presents a theoretical framework with concepts on which the authorship and the conformation of its terminological cosmos is based. This research has the scope of demonstrating the originality of Federico García Lorca and his use of symbolism in the language that he employs to create the different elements projected in all of his works., Departamento de Lengua Española, Grado en Español: Lengua y Literatura

This text is about the phenomenon of ornaments and colour, how I relate to them and how this relationship has developed through time. I contextualise these two subjects by taking a few examples on how they have been discussed and perceived throughout history. I find these subjects interesting because I have experienced a difficulty to include these two expressions in my practice before, although I have wanted to. In this research, I came to realise, I am just a result of my own environment. An environment embossed by ideas that ornaments are unnecessary and colours are out of fashion. I also describe how I, in my practice make ornaments in porcelain and aim for a spatial and spiritual expression, resulting in a setting reminiscent of a temple, which also is where the ornaments have their origin.

Making mochi (rice cakes) is a metaphor for making a way of life for myself through spiritual and cultural practice. I navigate the complexities of cultural mixing and identity as someone who is half Korean and half white. Rather than one or the other, I have always felt mixed, so my path to understanding my place in the world is also mixed. On one level, I am honoring my heritage by referencing Korean customs, folktales, and mythology. On another, I address how my needs are based on my current state, which includes my location, pop culture, and society at large. Much of this search is an endeavor in reconciliation–for the spiritually unknown and the way everything lives and dies. I recognize that I have a role in cultural evolution, so I choose to take on the responsibility as an active being in the world. The exhibit Making Mochi! visualizes spiritual contemplation and cultural practice in the form of ceramic and mixed media sculptures. It is a celebration for what once was and the journey that leads to growth and ultimately transformation.

Genom arkeologins historia har skepp studerats som symboler för makt, status och krig. Även om skeppen studerats väldigt mycket inom dessa aspekter har relationerna och nätverken runt skeppens produktion och underhåll fallit i skymundan. Målet med uppsatsen är därför att studera dessa relationer ur ett holistiskt perspektiv, och att försöka tolka hur dessa relationer i sin tur påverkat skeppets roll i gravsammanhang genom att använda Osebergsskeppet som grund för studien. Tidsramen som satts är yngre järnålder, detta för att kunna tolka skeppens symboliska värde effektivt. För att göra det immateriella greppbart används entanglement-teori, och kvantitativa uträkningar för naturliga- och mänskliga resurser används som hjälpmedel för detta. Studien visar att allt rörande skeppet är intrasslade med varandra, och att en kollektiv agens av samhället var nödvändig för produktion och senare underhåll av skeppen. Skeppens symboliska värde är också format av dessa relationer, och det är möjligt att det är dessa relationer som lett till skeppens roll i gravseden under perioden., For much of the history of archaeology ships have been studied as symbols for power, wealth, and warfare. Even though viking-age ships have been studied immensely in these regards the relationships and the network of organization around the construction and maintenance have not received as much attention from archaeologists. The aim of this essay is therefore to study these relationships in a holistic view, and to try to interpret how these relationships affected the ships’ place in the funerary sphere using the Oseberg ship as the basis for this study. The timeframe for the study is set to late iron-age since the study of symbolism needs a longer timeframe to be interpreted effectively. To get the intangible to become tangible the entanglement theory is applied, and quantitative estimations on natural- and human resources are used as support to do so. The study shows that everything surrounding the ship is entangled, and that a collective agency of the communities was necessary for the production and maintenance of the ships. The symbolic meaning of the ship is also formed by these relationships, and that it might be these relationships that gave the ships a place in the funerary sphere during the period.

Sydskandinaviska hällristningar har varit av stort intresse för arkeologin under en längre tid. Cirkelmotiv och skepp är några av de vanligaste hällristningsmotiven och detta har resulterat i att en mängd studier har publicerats genom åren. Olika forskare försöker att komma närmare ristningarna på olika plan. Det rör sig om olika symboliska ingångar, men också de mer objektiva ingångarna som datering och utbredningar. Istället för en fördjupning i hällristningarnas betydelser, ägnar sig denna studie åt att studera hur forskningen ser ut inom detta fält. Olika forskares arbeten presenteras vilka skiljer sig i metodiker och teoretiska ingångar. En del är publicerade i fel tid, vilket menas att de avviker från den dåvarande forskningstrenden. Resultatet av det kan variera. En del tenderar att hamna i skuggan av de som följer trenden, men blir relevanta efter sin tid. Studien försöker således att se till vad som händer med forskningen som avviker och även vad de teoretiska ingångarna grundar sig i., South Scandinavian rock carvings have been of great interest to archaeology for a long time. Circular motifs and ships are some of the most common motifs and this has resulted in a number of studies being published over the years. Different researchers try to get closer to the carvings on different levels. These are various symbolic inputs, but also the more objective inputs such as dating and distributions. Instead of an in-depth look at the meanings of the rock carvings, this study devotes itself to studying what research looks like in this field. The works of various researchers are presented, which differ in methodologies and theoretical inputs. Some are published at the wrong time, which means that they deviate from the current research trend of their time. The result of it may vary. Some tend to be overshadowed by those who follow the trend, but become relevant after their time. The study thus tries to see what happens with the research that deviates and also what the theoretical inputs are based on.

El desarrollo de la ornitoarqueología durante la última década ha permitido incidir en cómo los grupos humanos captaron aves con diversas finalidades durante la prehistoria, como por ejemplo de consumo, simbólicas o tecnológicas. Además, otros agentes como rapaces o carnívoros también pueden consumir y acumular restos de aves. Es aquí donde los estudios tafonómicos son clave para interpretar los conjuntos arqueológicos. La ornitoarqueología está demostrando ser una disciplina compleja y aún en desarrollo, aportando notables resultados en aspectos tanto ecológicos como conductuales sobre los grupos humanos de la prehistoria., The development of ornithoarchaeology over the last decade has revealed how human groups captured birds for various purposes during prehistoric times, such as consumption, symbolic or technological purposes. Other agents such as raptors or carnivores can also consume and accumulate bird remains. This is where taphonomic studies are key to the interpretation of archaeological assemblages. Ornithoarchaeology is proving to be a complex and still developing discipline, yielding remarkable results in both ecological and behavioural aspects of prehistoric human groups.

This thesis provides a discussion of the use of sex(ism) in advertisement and its implications for gender roles and values, with a focus on women’s status in society. We argue that women are being objectified and still considered second class citizens, even in such a gender equality forward country as Sweden. The harm of using sex(ism) in the advertising industry is shown by how it strongly implements and perpetuates antiquated gender stereotypes upon society. This limits women’s options in many regards, such as when it comes to career opportunities, and self-development as your own entity. It is through a critical understanding of the role advertising has on society, and vice versa, that comprehension of the issue and how to move forward towards a more gender equal society can be accomplished.

Sigurd Agrell published six volumes of melancholic and highly stylised poetry between 1903 and 1912, and has since then been largely ignored in 20th century Swedish literary history. His writing shows influences from decadence and symbolism, and his frequent use of the sonnet, as well as other metrical devices, also connects him to an older tradition. In this essay I examine what tradition he belongs to, and in what ways his verse fits in with other writers of the turn of the last century. I analyse poems by Sigurd Agrell in order to identify what themes, motifs and literary techniques he shares with contemopary poets, and in what ways he differs from them. We will see that while Agrell shares many traits with the symbolist movement, he also stands out in certain important respects.

Sydskandinaviska hällristningar har varit av stort intresse för arkeologin under en längre tid. Cirkelmotiv och skepp är några av de vanligaste hällristningsmotiven och detta har resulterat i att en mängd studier har publicerats genom åren. Olika forskare försöker att komma närmare ristningarna på olika plan. Det rör sig om olika symboliska ingångar, men också de mer objektiva ingångarna som datering och utbredningar. Istället för en fördjupning i hällristningarnas betydelser, ägnar sig denna studie åt att studera hur forskningen ser ut inom detta fält. Olika forskares arbeten presenteras vilka skiljer sig i metodiker och teoretiska ingångar. En del är publicerade i fel tid, vilket menas att de avviker från den dåvarande forskningstrenden. Resultatet av det kan variera. En del tenderar att hamna i skuggan av de som följer trenden, men blir relevanta efter sin tid. Studien försöker således att se till vad som händer med forskningen som avviker och även vad de teoretiska ingångarna grundar sig i., South Scandinavian rock carvings have been of great interest to archaeology for a long time. Circular motifs and ships are some of the most common motifs and this has resulted in a number of studies being published over the years. Different researchers try to get closer to the carvings on different levels. These are various symbolic inputs, but also the more objective inputs such as dating and distributions. Instead of an in-depth look at the meanings of the rock carvings, this study devotes itself to studying what research looks like in this field. The works of various researchers are presented, which differ in methodologies and theoretical inputs. Some are published at the wrong time, which means that they deviate from the current research trend of their time. The result of it may vary. Some tend to be overshadowed by those who follow the trend, but become relevant after their time. The study thus tries to see what happens with the research that deviates and also what the theoretical inputs are based on.

Genom arkeologins historia har skepp studerats som symboler för makt, status och krig. Även om skeppen studerats väldigt mycket inom dessa aspekter har relationerna och nätverken runt skeppens produktion och underhåll fallit i skymundan. Målet med uppsatsen är därför att studera dessa relationer ur ett holistiskt perspektiv, och att försöka tolka hur dessa relationer i sin tur påverkat skeppets roll i gravsammanhang genom att använda Osebergsskeppet som grund för studien. Tidsramen som satts är yngre järnålder, detta för att kunna tolka skeppens symboliska värde effektivt. För att göra det immateriella greppbart används entanglement-teori, och kvantitativa uträkningar för naturliga- och mänskliga resurser används som hjälpmedel för detta. Studien visar att allt rörande skeppet är intrasslade med varandra, och att en kollektiv agens av samhället var nödvändig för produktion och senare underhåll av skeppen. Skeppens symboliska värde är också format av dessa relationer, och det är möjligt att det är dessa relationer som lett till skeppens roll i gravseden under perioden., For much of the history of archaeology ships have been studied as symbols for power, wealth, and warfare. Even though viking-age ships have been studied immensely in these regards the relationships and the network of organization around the construction and maintenance have not received as much attention from archaeologists. The aim of this essay is therefore to study these relationships in a holistic view, and to try to interpret how these relationships affected the ships’ place in the funerary sphere using the Oseberg ship as the basis for this study. The timeframe for the study is set to late iron-age since the study of symbolism needs a longer timeframe to be interpreted effectively. To get the intangible to become tangible the entanglement theory is applied, and quantitative estimations on natural- and human resources are used as support to do so. The study shows that everything surrounding the ship is entangled, and that a collective agency of the communities was necessary for the production and maintenance of the ships. The symbolic meaning of the ship is also formed by these relationships, and that it might be these relationships that gave the ships a place in the funerary sphere during the period.

This thesis examines how visual music in Swedish silent film served as an allusion to sound, either as a cinematic effect or as an intertwined part of the film narrative. Drawing on the concepts of synaesthesia and visual music, a discussion on how both concepts relate to each other serves as the key method for analyzing a selection of films. By defining synaesthesia in relation to concepts such as Gesamtkunstwerk and photogénie, the analysis examines different synaesthetic expressions through visual music in Swedish silent film. This thesis argues that Swedish film was influenced through several forms of art and ideas from different cinematic cultures. By comparing synaesthetic expressions through visual music in Swedish silent film and other cinematic cultures, this thesis suggest that the concepts were used in different ways to define cinema as a unique form of art.

Sigurd Agrell published six volumes of melancholic and highly stylised poetry between 1903 and 1912, and has since then been largely ignored in 20th century Swedish literary history. His writing shows influences from decadence and symbolism, and his frequent use of the sonnet, as well as other metrical devices, also connects him to an older tradition. In this essay I examine what tradition he belongs to, and in what ways his verse fits in with other writers of the turn of the last century. I analyse poems by Sigurd Agrell in order to identify what themes, motifs and literary techniques he shares with contemopary poets, and in what ways he differs from them. We will see that while Agrell shares many traits with the symbolist movement, he also stands out in certain important respects.

Hofmannsthals Alkestis (1894) stellt den ersten vollendeten Versuch des österreichischen Dichters dar, die Tragödie der griechischen Antike aus der Starrheit philologischer Bühnenbearbeitungen zu lösen und für das moderne Empfinden neu zu beleben. Durch die metaphernreiche lyrische Sprache schafft Hofmannsthal ein Werk, das sich eindeutig in die künstlerischen Stilrichtungen des Fin de Siècle einreiht. Gleichzeitig bietet die neue symbolistisch gefärbte Alkestis einen wichtigen Beitrag zur zeitgenössischen Reflexion des Dichters über das Wesen von Mythos und Metapher

This thesis examines how visual music in Swedish silent film served as an allusion to sound, either as a cinematic effect or as an intertwined part of the film narrative. Drawing on the concepts of synaesthesia and visual music, a discussion on how both concepts relate to each other serves as the key method for analyzing a selection of films. By defining synaesthesia in relation to concepts such as Gesamtkunstwerk and photogénie, the analysis examines different synaesthetic expressions through visual music in Swedish silent film. This thesis argues that Swedish film was influenced through several forms of art and ideas from different cinematic cultures. By comparing synaesthetic expressions through visual music in Swedish silent film and other cinematic cultures, this thesis suggest that the concepts were used in different ways to define cinema as a unique form of art.

Reading comprehension means understanding what is read; involves the ability to extract explicit and implicit information from the text. It is an ability to order ideas and build relationships within what is written. The study was based on this epistemic conception, whose objective was to promote reading comprehension mediated by Mary Grueso’s Afro-Colombian literature, as a didactic strategy with seventh-grade students. Methodologically, the study was framed in the postpositivist paradigm, under the pedagogical action research method. A written test and an observation log were used as instruments. The results indicated that, with the strategy, the students understood the texts read, and made inferences, and arguments on a topic, having consistency in the discourse. In the same way, they managed to increase their communication skills and their reading fluency, in addition to expanding their vocabulary through the use of the dictionary, when finding unknown terms., A compreensão da leitura significa entender o que é lido; envolve a capacidade de extrair informações explícitas e implícitas do texto. É uma capacidade de ordenar ideias e construir relações dentro do que está escrito. O estudo partiu dessa concepção epistêmica, cujo objetivo foi promover a compreensão leitora mediada pela literatura afro-colombiana de Mary Grueso, como estratégia didática com alunos da sétima série. Metodologicamente, o estudo foi enquadrado no paradigma pós-positivista, sob o método da pesquisa-ação pedagógica. Uma prova escrita e um diário de observação foram usados como instrumentos. Os resultados indicaram que, com a estratégia, os alunos compreenderam os textos lidos, fizeram inferências e argumentações sobre um tema, tendo coerênciano discurso. Da mesma forma, conseguiram aumentar suas habilidades de comunicação e sua fluência de leitura, além de ampliar seu vocabulário por meio do uso do dicionário, ao encontrar termos desconhecidos., La comprensión lectora es entender lo que se lee, involucra la capacidad para extraer la información explícita e implícita del texto; es una habilidad para ordenar las ideas y constituir relaciones dentro de lo escrito. Sobre esta concepción epistémica se fundamentó este estudio, cuyo objetivo fue fomentar la comprensión lectora mediada por la literatura afrocolombiana de Mary Grueso, como estrategia didáctica para la comprensión lectora de los estudiantes de séptimo grado. Metodológicamente se enmarca en el paradigma pospositivista, bajo el método investigación acción pedagógica. Se utilizó como instrumento una prueba escrita y una bitácora de observación. Los resultados indicaron que, con la estrategia, los estudiantes comprendieron los textos leídos, realizaron inferencias, argumentaciones sobre un tema, teniendo consistencia en el discurso; de igual forma, se logró aumentar las competencias comunicativas y la fluidez lectora en los estudiantes, además, ampliaron su vocabulario a través del uso del diccionario, al encontrar términos desconocidos.

The purpose of the proposed research is to create a metaphysical portrait sketch of Melitopol in the symbolic circle "honey - milk - water" in the context of attracting symbolic resources problem in tourism. In an intensive way, and following the strengthening of homo viator phenomenon in the global world, research in the touristic field and philosophy of tourism are increasingly turning their attention to the "internal resource", including in this concept, in addition to natural and cultural- historical, also symbolic resource. The work uses such methods as dialectical and metaphysical, the principle of comprehensiveness of research, the general logical method, and other methods of scientific research. Tourist legend as an applied direction can become an effective marketing mechanism, as a result of which it is possible, using a symbolic resources variety and tools, to create humanitarian and social development perspectives, agreed and identified through analysis of mythological structures and conceptual shells for harmonious and effective development of these territories. In this aspect, tourism as one of the mass culture branches will produce tourist flows directed to previously elaborated territorial brands., El propósito del estudio propuesto es crear un boceto de retrato metafísico de Melitópol en el círculo simbólico "miel - leche - agua" en el contexto del problema de atracción de recursos simbólicos en el turismo. De manera intensa y siguiendo el fortalecimiento del fenómeno del homo viator en el mundo global, las investigaciones en el ámbito turístico y la filosofía del turismo prestan cada vez más atención al "recurso interno", incluyendo en este concepto, además de lo natural y cultural- histórico, también el recurso simbólico. El trabajo utiliza métodos tales como dialécticos y metafísicos, el principio de exhaustividad de la investigación, el método lógico general y otros métodos de investigación científica. La leyenda turística como dirección aplicada puede convertirse en un eficaz mecanismo de marketing, gracias al cual es posible, utilizando una variedad de recursos y herramientas simbólicas, crear perspectivas humanitarias y sociales de desarrollo, coordinadas e identificadas a través del análisis de estructuras mitológicas y corazas conceptuales para el desarrollo armónico y efectivo de estos territorios. En este aspecto, el turismo como una de las ramas de la cultura de masas producirá flujos turísticos dirigidos a marcas territoriales previamente elaboradas.

Faced with little treatment of the symbolic nature of castle architecture, this paper attempts to review its presence in an image of the 9th century, which represents the eschatological city of Revelation, a book that provided the medieval imagination with the stimulus for the creation of a copious iconography. One of the first testimonies of this iconography in the field of medieval manuscript illumination is the Apocalypse of Trier; in it, the representation of the heavenly Jerusalem, studied by researchers such as Peter Klein, Bianca Kühnel, Michael Embach, Annelen Ottermann, and Richard Emmerson, shows us, through the imagery of the Carolingian illuminist, the symbolic presence of the image of the castle through a schematized representation that constitutes an iconic sign with various connotations., Frente al poco tratamiento del carácter simbólico de la arquitectura de los castillos, este trabajo intenta revisar su presencia en una imagen del siglo IX que representa a la ciudad escatológica de la Revelación, un libro que proveyó a la imaginación medieval el estímulo para la creación de una copiosa iconografía. Uno de los primeros testimonios de esta iconografía en el campo de la iluminación de los manuscritos medievales es el Apocalipsis de Tréveris; en este, la representación de la Jerusalén Celestial, estudiada por investigadores como Peter Klein, Bianca Kühnel, Michael Embach, Annelen Ottermann, y Richard Emmerson, nos muestra a través del imaginario del iluminista carolingio, la presencia simbólica de la imagen del castillo mediante una representación esquematizada que constituye un signo icónico con diversas connotaciones.

In August 1890, the then very young Maurice Denis published a short essay in the pages of the Parisian magazine «Art et Critique» entitled Définition du Néo-traditionnisme. With this text, the future co-founder of the Nabis group laid the ideological foundations for the Symbolist movement ahead of his friend and colleague Gabriel Albert Aurier, the author of what is still considered the “official” manifesto of this movement: Le Symbolisme en peinture: Paul Gauguin (1892). In his text, the Granville-born painter provides his own definition of the famous five points drawn up by Aurier only two years later (ideism, symbolism, synthetism, subjectivism and decorativism), thus demonstrating that he was not only an avant-garde artist but also a keen theoretician attentive to the critical debates of his time.

This article seeks to determine the link between the symbolic profile of North American skyscrapers and the features of North American culture, emphasizing the parallelism followed in the evolution of both. For this purpose, it resorts to a comprehensive or interpretative sociology combined with an incipient sociology of skyscrapers as a theoretical–methodological basis, complemented in turn with the notions of creativity and symbolism, resources through which the nuclear myths on which North American culture is sustained would become visible. The work reveals how the transformations in the style followed by American skyscrapers maintain a close relationship with the process of collapse of the original values proclaimed by American capitalism. So that the aesthetics characterized by a rationalist abstraction, perfectly fitted in the inaugural ascetic values of this first capitalism, would give way to an aesthetics of evanescent sign where an individuated consideration of the self would be given preeminence. In this sense, the work discovers how the symbology carried on the skyscrapers constitutes a first-level observatory in order to evidence the mutations that took place in the North American religiosity., Este artículo pretende analizar el vínculo existente entre el perfil simbólico de los rascacielos norteamericanos y los rasgos de la cultura norteamericana, haciendo hincapié en el paralelismo descrito por la evolución de ambos. Para hacerlo se recurre a una sociología comprensiva o interpretativa combinada con una incipiente sociología de los rascacielos como base teórico-metodológica, complementada a su vez con las nociones de creatividad y simbolismo, recursos mediante los cuales se visibilizaría el conjunto de mitos nucleares que sustenta la cultura norteamericana. El texto revela cómo las transformaciones estilísticas de los rascacielos norteamericanos mantienen una estrecha relación con el proceso de derrumbe de los valores originales proclamados por el capitalismo norteamericano, de modo que la estética caracterizada por una abstracción racionalista, perfectamente encajada en los valores ascéticos inaugurales de ese primer capitalismo, dejaría paso a una estética del signo evanescente que daría preeminencia a una consideración individuada del yo. En este sentido, este trabajo revela que la carga simbólica de los rascacielos proporciona un punto de vista privilegiado para observar las mutaciones acontecidas en la religiosidad norteamericana.

Reggaeton lyrics accentuate differences based on stereotypes that are configured in society through symbolic violence, where perceptions, values and beliefs are naturalized from the collective imaginary imposed from a position of social roles. The article analyzes gender violence based on the symbolisms and meanings presented in reggaeton and incorporated into social coexistence. The results show that in the social sphere the attribution of stereotypes linked to power, recognition and acceptance are perpetuated, with emphasis on the binary distribution of being a woman and a man which is constantly legitimized in the interaction in their environments., Las líricas del reggaetón acentúan diferencias basadas en estereotipos que se configuran en la sociedad a través de la violencia simbólica, donde las precepciones, valores y creencias se naturalizan a partir del imaginario colectivo impuesto desde una postura de roles sociales. El artículo analiza la violencia de género a partir de los simbolismos y significados presentados en el reggaetón, que son incorporados en la convivencia social. Los resultados muestran que en el ámbito social se perpetúan la atribución de estereotipos vinculados al poder, reconocimiento y aceptación; con énfasis en la distribución binaria del ser mujer y varón lo que se legitima constantemente en la interacción en sus entornos.

The purpose of this article is to present interdisciplinarily the connection between architecture and theology. The research was conducted using manuscript sources (inventory cards of architectural and construction monuments from the collections of the Provincial Monument Protection Office in Białystok), printed materials, as well as subject literature and internet sources. Photographic inventories of the sacred objects were carried out, as well as conversations with clergymen. The aim of the research was to verify the hypothesis that theology has a significant impact on shaping the architecture of Orthodox churches. Symbolism in the architecture of churches encompasses many aspects, including the color scheme of the facades. The Podlaskie Voivodeship has the largest number of Orthodox churches in Poland. These areas are associated with wooden architecture due to the easy availability of raw materials. The attribute of wooden Orthodox churches in this area is the variety of colors on their facades. Colors have a rich theological symbolism that is often associated with the cult of saints. It is particularly visible in icons. The study covered seven green churches in the Podlaskie Voivodeship, in the towns of Anusin, Koźliki, Narew, Pasynki, Trześcianka, and Tyniewicze Duże. Among the studied objects, one is currently green, and the others had this feature in the past. The temples were described in terms of dating, plan shape, and facade color occurrence. The research showed a connection between the green color of the facade and its theological symbolism. An architect of an ideal temple analogous to those included in the study should combine the art of aesthetic design with the principles of theology. The synergy of architecture and theology is necessary in such objects, and thanks to it, they are beautiful., Celem artykułu jest interdyscyplinarne ukazanie związku architektury z teologią. Do badań wykorzystano źródła rękopiśmienne (karty inwentarzowe zabytków architektury i budownictwa ze zbiorów Wojewódzkiego Urzędu Ochrony Zabytków w Białymstoku), materiały drukowane, literaturę przedmiotu oraz źródła internetowe. Dokonano również inwentaryzacji fotograficznej obiektów sakralnych oraz przeprowadzono rozmowy z duchownymi. Celem badań była weryfikacja hipotezy mówiącej o istotnym wpływie teologii na kształtowanie architektury cerkwi. Symbolika w architekturze kościołów prawosławnych obejmuje wiele aspektów, w tym także kolorystykę fasad. W województwie podlaskim znajduje się największa liczba cerkwi w Polsce. Tereny te cechują się z architekturą drewnianą ze względu na łatwą dostępność surowców. Cechą charakterystyczną drewnianych cerkwi na tym terenie jest różnorodność kolorystyczna ich fasad. Kolory mają bogatą symbolikę teologiczną, która często kojarzona jest z kultem świętych. Jest to szczególnie widoczne w ikonach. Badaniami objęto siedem zielonych kościołów na terenie województwa podlaskiego, w miejscowościach Anusin, Koźliki, Narew, Pasynki, Trześcianka i Tyniewicze Duże. Spośród badanych obiektów jeden jest obecnie zielony, a pozostałe były w tym kolorze w przeszłości. Świątynie opisano pod kątem datowania, kształtu planu budowli i kolorystyki elewacji. Badania wykazały związek pomiędzy zielonym kolorem elewacji a jej symboliką teologiczną. Architekt idealnej świątyni na wzór budowli uwzględnionych w opracowaniu powinien łączyć sztukę projektowania estetycznego z zasadami teologii. W takich obiektach konieczna jest synergia architektury i teologii, która decyduje o ich pięknie.

Bakalářská práce se zabývá konkrétními obrazy s náměty Útěku do Egypta a Odpočinku na Útěku do Egypta, které pochází z 16. až 20. století. Srovnává jejich podobu, formu a zpracování, hodnotí tento vývoj a zároveň identifikuje symboliku v nich., This bachelor's thesis deals with specific paintings with themes of Flight into Egypt and Rest on Flight into Egypt, which interweave from 16th to 20th century. It compares their representation, form and treatment, tries to evaluates this development and at the same time identifies a symbolism in them., Fakulta filozofická, Studentka představila svojí bakalářskou práci a reagovala na diskusi. Vzhledem k hraničnímu rozsahu práce a některým dalším formálním nedostatkům (např. nedostatečný úvod) se komise usnesla na hodnocení horší známkou, než bylo navrhováno v posudcích., Dokončená práce s úspěšnou obhajobou

This thesis aims to answer the question of how the library is represented in the Librarian franchise, not only focusing on the films/tv-series but also how it is represented in print. The analysis of the library representation uses a background of the theory and method found in semiotics and iconography, as well as qualitative content analysis, to examine not only the literal/denoted representation, but also the symbolic/connoted, and then compar-ing these findings to the representation of libraries and librarians (with a focus on the stereotypes) found in former research on the subject. The libraries depicted in this franchise all adhere to the stereotypes in some ways, especially the grandeur or spaciousness, at times labyrinthine but there is always someone experienced to ask to help find what you are looking for. The library is represented in a positive light, it is not a place to be feared, it is a place of knowledge and adventure. The characters see these libraries as home or as a social “hub” for the community, they are signs of safety, comfort, and peaceful entertainment. A world without libraries is depicted as a dystopian nightmare. In the franchise there are some characters that can be interpreted as personification of the Library, in this thesis I am focusing on Judson, Charlene, and Ray (the spirit of the library), all of which embody several of the librarian stereotypes, such as intelligence and order, these characters signify in various ways how much the library depends on librarians. In conclusion, this franchise, although unrealistic, shows that the library does not have to be a boring place, and neither does the librarian profession. This is a two years master’s thesis in Library and Information Science., Målet med denna uppsats är att besvara frågan hur biblioteket representeras i Librarian-franchisen, inte bara hur det representeras i filmerna/tv-serien men också hur det representeras i de tryckta berättelserna. I analysen av biblioteksrepresentationen använder jag mig av teoretiska utgångspunkter och metodik från semiotik och ikonografi samt kvalitativ innehållsanalys, för att utforska både den bokstavliga/denoterade representationen och den symboliska/konnoterade, och sedan jämföra resultatet med hur tidigare forskning beskrivit biblioteks- och bibliotekarierepresentationen (med fokus på stereotyper) i fiktion. Alla biblioteken som representeras i denna franchise kopplas till viss del ihop med biblioteksstereotyperna, speciellt prakt och rymlighet, och ibland även labyrinter men det finns alltid någon erfaren att fråga om hjälp för att hitta det du söker. Biblioteken är positivt representerade i denna franchise, biblioteket är inte en skrämmande plats, det är en plats som symboliserar kunskap och äventyr. Karaktärerna ser biblioteket som ett hem eller ett socialt nav, biblioteket symboliserar säkerhet, bekvämlighet och stillsam underhållning. En värld utan biblioteken representeras i serien som en dystopisk mardröm. I denna franchise går det att finna några karaktärer som inte bara är bibliotekarierepresentationer men också agerar som personifikationer av biblioteket, i denna uppsats har jag valt att fokusera på Judson, Charlene och Ray (bibliotekets ande), som alla faller in i flera bibliotekariestereotyper, exempelvis intelligens och ordningsamhet. Dessa karaktärer signifierar även på olika sätt hur mycket biblioteket är beroende av bibliotekarier. Slutligen visar denna franchise, trots dess surrealism, att biblioteket inte måste vara en tråkig plats, och bib-liotekarieyrket behöver inte heller vara tråkigt. Detta är en två års masteruppsats i biblioteks- och informationsvetenskap.

The purpose of this article is to present interdisciplinarily the connection between architecture and theology. The research was conducted using manuscript sources (inventory cards of architectural and construction monuments from the collections of the Provincial Monument Protection Office in Białystok), printed materials, as well as subject literature and internet sources. Photographic inventories of the sacred objects were carried out, as well as conversations with clergymen. The aim of the research was to verify the hypothesis that theology has a significant impact on shaping the architecture of Orthodox churches. Symbolism in the architecture of churches encompasses many aspects, including the color scheme of the facades. The Podlaskie Voivodeship has the largest number of Orthodox churches in Poland. These areas are associated with wooden architecture due to the easy availability of raw materials. The attribute of wooden Orthodox churches in this area is the variety of colors on their facades. Colors have a rich theological symbolism that is often associated with the cult of saints. It is particularly visible in icons. The study covered seven green churches in the Podlaskie Voivodeship, in the towns of Anusin, Koźliki, Narew, Pasynki, Trześcianka, and Tyniewicze Duże. Among the studied objects, one is currently green, and the others had this feature in the past. The temples were described in terms of dating, plan shape, and facade color occurrence. The research showed a connection between the green color of the facade and its theological symbolism. An architect of an ideal temple analogous to those included in the study should combine the art of aesthetic design with the principles of theology. The synergy of architecture and theology is necessary in such objects, and thanks to it, they are beautiful., Celem artykułu jest interdyscyplinarne ukazanie związku architektury z teologią. Do badań wykorzystano źródła rękopiśmienne (karty inwentarzowe zabytków architektury i budownictwa ze zbiorów Wojewódzkiego Urzędu Ochrony Zabytków w Białymstoku), materiały drukowane, literaturę przedmiotu oraz źródła internetowe. Dokonano również inwentaryzacji fotograficznej obiektów sakralnych oraz przeprowadzono rozmowy z duchownymi. Celem badań była weryfikacja hipotezy mówiącej o istotnym wpływie teologii na kształtowanie architektury cerkwi. Symbolika w architekturze kościołów prawosławnych obejmuje wiele aspektów, w tym także kolorystykę fasad. W województwie podlaskim znajduje się największa liczba cerkwi w Polsce. Tereny te cechują się z architekturą drewnianą ze względu na łatwą dostępność surowców. Cechą charakterystyczną drewnianych cerkwi na tym terenie jest różnorodność kolorystyczna ich fasad. Kolory mają bogatą symbolikę teologiczną, która często kojarzona jest z kultem świętych. Jest to szczególnie widoczne w ikonach. Badaniami objęto siedem zielonych kościołów na terenie województwa podlaskiego, w miejscowościach Anusin, Koźliki, Narew, Pasynki, Trześcianka i Tyniewicze Duże. Spośród badanych obiektów jeden jest obecnie zielony, a pozostałe były w tym kolorze w przeszłości. Świątynie opisano pod kątem datowania, kształtu planu budowli i kolorystyki elewacji. Badania wykazały związek pomiędzy zielonym kolorem elewacji a jej symboliką teologiczną. Architekt idealnej świątyni na wzór budowli uwzględnionych w opracowaniu powinien łączyć sztukę projektowania estetycznego z zasadami teologii. W takich obiektach konieczna jest synergia architektury i teologii, która decyduje o ich pięknie.

This paper explores the significance of art, architecture, visuals of setting and different symbols in the song Blood, Sweat and Tears, sung and performed by the South Korean Music Band Bangtan Sonyeondan, also known as (BTS). The existence of different symbols throughout cultures around the world is an attempt to preserve what humans have perceived about themselves and the world around them in different phases of cultural history. These symbols are embedded in our cultural and religious behaviour. Such religious and cultural imprints have been examined in the lead song, Blood, Sweat and Tears, of the album The Wings, made and performed by BTS. Blood, Sweat and Tears is a piece of decadent literature. This song has attracted the attention of music critics and art and literature students due to its allegorical beauty and rich symbolism. The music video is loaded with symbols conveying an implicit story of psychological complexities in the background concerning the conflict between good and evil in human nature. BTS is communicating a deep meaning behind the curtain of a symbolic setting. The researcher has attempted to interpret the song’s art, architecture, and symbols through the Jungian psychoanalytic perspective.

481 p., La tesis central que propone este trabajo, examinando el imaginario vasco alrededor de la tortura, y las prácticas sociales de lucha y resistencia en el contexto de la guerra independentista abertzale y revolucionaria en el sentido socialista contra el Estado español, es de interpretar la fenomenología cultural y social que se desprende de la tortura practicada como violencia política, entre dominio y resistencia del cuerpo social vasco, describiéndolo a través de su imaginario social e ideológico, durante sus trasformaciones históricas de los últimos cincuenta años. A lo largo de este lapso histórico, en el que se mencionarán las fases finales de la dictadura franquista, para centrar el análisis a partir de la afirmación de la democracia en España y hasta el 2015, el imaginario que compone el cuerpo social y las prácticas de resistencia que se enfrentan a la tortura tienen un cambio profundo en la manera de ser percibido, representado y construido.