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Denna studie undersöker den moderna nypaganska livssynen Rökkatru genom ett jungianskt perspektiv. I undersökningen används forskningsmetoder som grundad teori även kallat GT och digital antropologi som inspirerats av netnografi för att bearbeta materialet som studerats. Det material som samlats in genom dessa två metoder härstammar från olika webbsidor och forum på internet som behandlar Rökkatru på olika plan. Genom GT har en kärnkategori växt fram från materialet, denna kärnkategori har sedan delats in i underkategorier och egenskaper, allt detta har studerats via en jungiansk teoretisk synvinkel tills slutligen ett teoretiskt begrepp växt fram som kan användas inom framtida forskning. Genom den teoretiska analysen har vikten av den personliga och kollektiva skuggan i relation till individuationsprocessen belysts, där rituella, mytologiska och filosofiska aspekter står i fokus.

Denna studie har som syfte att undersöka och analysera om och hur schack kan användas som pedagogiskt verktyg i förskolans matematikundervisning med fokus på mönster. Tidigare forskning kring pedagogisk användning av schack koncentreras primärt till barn i grundskolan. Bristen på forksning kring schack i förskolan utgör det gap som vi har valt att undersöka genom en fältstudie som involverar sex barn i 4-årsåldern och som pågick under en veckas tid. I vår studie har vi använt oss av variationsteori som metod och utförde en förbedömning med fokus på mönster, följt av tre undervisningssituationer med schack och avslutningsvis en efterbedömning som var likadan som förbedömningen. Resultatet av fältstudien har vi analyserat utifrån Perkins och Salomons teori om transfer och Bishops matematiska aktivitet designa. Utifrån vår analys har vi dragit slutsatser att schackundervisning i förskolan kan skapa möjligheter för barnen att överföra kunskaper om schack till områden inom matematik som ingår i Läroplanen för förskolan. Detta grundar vi på att barnen visade tecken på förändrat kunnande om mönster vid jämförelse av för- och efterbedömningarna. I analysen av vår empiri framkom även transfer i ett flertal olika situationer. Vi har även observerat Bishops matematiska aktivitet designa i analysen av schackundervisningen. Utefter detta har vi dragit slutsatsen att barn med hjälp av schackundevisning kan införskaffa sig mer kunskap om mönster, exempelvis genom att få mer förståelse för reflektion och parallellförflyttning. Även Bishops andra aktiviteter framkommer i analysen.

Detta examensarbete är en intervention där jag undersöker vilka rörelser lågstadieelever använder sig av när de arbetar med problemlösning samt hur dessa förändras över tid. Under problemlösningen får eleverna möjlighet att använda sig av både handgester och större kroppsrörelser. Interventionen genomfördes med två egen utformade uppgifter med problemlösning i matematiska mönster, med geometriska former och på tallinjen. 26 elever deltog i studien, varav 23 av dem per uppgift, fördelat på sex grupper. Under elevernas arbete med mönstret med geometriska former genererade grupperna 890 rörelser i genomsnitt, medan mönstret på tallinjen i genomsnitt genererade 700 rörelser per grupp. Resultatet visar både en vinning i att låta elever utforska lösningar och passande rörelser själva samt att en viss styrning av rörelser kan vara bra om eleverna har svårt att upptäcka mönstret., In this thesis I use an intervention to examine motions that pupils in the elementary school ages are using during mathematical problem-solving tasks and how these motions changes over time. During the problem-solving the pupils was allowed to use both hand gestures and bodily movements. I created two tasks of mathematical problems with patterns that was used in the intervention. One pattern with geometric shapes and the other one with a pattern on a number line. 26 pupils participated in this study and 23 pupils attended each task, divided in to six groups. During the pupils work with the geometric pattern they produced an average of 890 motions per group and the number line pattern produced an average of 700 motions per group. The result shows that the pupils can gain from having to find the solution and appropriate movements to the task, but also that a certain amount of governance can be useful if the pupils are struggling to see the pattern.

Este Trabajo Fin de Máster es un proyecto que abarca la dimensión de lo monstruoso en el arte y sus posibles representaciones, haciendo especial hincapié en la figura del monstruo y su dimensión identitaria. Aborda la práctica artística escultórica como pilar del desarrollo experimental y los conceptos de hibridación identitaria en pos de la búsqueda de nuevas formas de representación artística. En este proyecto se indaga sobre el origen del monstruo y sus usos en la creación artística -tanto estética como conceptualmente en busca de nuevas líneas discursivas afines, así como asentar la base de futuras investigaciones. Se realiza una investigación de naturaleza cualitativa en cuanto al análisis de datos recogidos y cuantitativa en cuanto a la identificación de artistas que trabajen en torno a estos conceptos. Se analizan autores como José Miguel G. Cortés, Teresa Aguilar García o Eugenio Trías, en busca de establecer paralelismos entre sus estudios sobre lo monstruoso, el híbrido y lo siniestro. Artistas como Patricia Paccinini, Xooang Choi y Francesco Albano -entre otros- son focos de estudio, generando discusiones sobre el papel de lo monstruoso en el arte y su uso en el ámbito artístico contemporáneo actual, así como la dimensión identitaria de la piel y nuevas versiones del retrato., This Master’s Thesis is a project that encompasses the dimension of the monstrous in art and its potential representations, with a special emphasis on the figure of the mons ter and its identity dimension. It addresses sculptural artistic practice as a cornersto ne of experimental development and explores the concepts of identity hybridization in pursuit of new forms of artistic representation. The project delves into the origin of the monster and its uses in artistic creation—both aesthetically and conceptually—in search of new related discursive lines while laying the groundwork for future research. A qualitative investigation will be conducted for the analysis of collected data and a quantitative approach to identify artists working around these concepts. Authors such as José Miguel G. Cortés, Teresa Aguilar García, and Eugenio Trías will be analyzed to establish parallels among their studies on the monstrous, the hybrid, and the uncanny. Artists like Patricia Paccinini, Xooang Choi, and Francesco Albano -among others- will be the focus of study, fostering discussions on the role of the monstrous in art and its use in contemporary artistic spheres, as well as the identity dimension of skin and new versions of portraiture.

There is currently a wave of research and development of novel on-body technologies and materials, including shape-changing technologies to be worn on or used close to the body. Traditional interaction design methods and interface models are not always a good fit for designing meaningful interactions with these technologies as they primarily interact with our somatic selves—not our language-oriented, symbol-processing ways of being in the world. Design researchers are therefore borrowing ideas and methods from the arts and humanities to design with and help to ”humanize” these technologies. One such approach, originating in pragmatist philosophy, is a design program named soma design. Soma design grounds design processes in our first-person sensuous, subjective experience of the world, aiming to deepen our aesthetic appreciation of ourselves and the world that surrounds us. Soma design has previously mostly addressed gentle, soft experiences. The work,I came to engage in, shifted away from the solely soft and comfortable, and instead addressed borderline uncomfortable, at times uncanny, yet evocative experiences. To shed light on and better articulate those experiences, I turned to monster theories, in particular, using the lens of the monster from the humanities, alongside the impurity concept from social anthropology. In my work, I define these monstrous experiences as ambiguous experiences, which transgress the seemingly opposing experiential categories of comfort versus discomfort. I did so through designing with technologies that apply restriction, pressure, shape-changing, weight-shifting onto our bodies that introduced ways of alienating us from our own bodily rhythms such as our breathing rhythm. As I argue, monstrous experiences constitute one way of addressing some of the dividing dualistic rifts in interaction design. Through the analysis of my design studies, I show how monstrous experiences help to dissolve the distinction between the inside and the out, Vi är mitt i en våg av forskning och utveckling av nya kroppsnära bärbara teknologier och material, inklusive formförändrande teknologier som appliceras på eller nära kroppen. Traditionella metoder för interaktionsdesign och gränssnittsmodeller är inte alltid lämpliga för att utforma meningsfulla interaktioner med dessa teknologier eftersom de primärt interagerar med vårt somatiska jag---inte våra språkorienterade, symbolbearbetande sätt att vara i världen. Designforskare lånar därför idéer och metoder från konst och humaniora för att designa och hjälpa till att ”humanisera” dessa teknologier. Ett sådant tillvägagångssätt, med grund i pragmatistisk filosofi, är ett designprogram som heter soma design. Soma design utgår från designprocesser grundade i individens personliga, sensuella, subjektiva upplevelser av världen, med syfte att fördjupa vår estetiska uppskattning av oss själva och världen som omger oss. Soma design har tidigare mestadels fokuserat på lugna, stillsamma upplevelser. I mitt arbete valde jag att inte arbeta med mjuka och bekväma upplevelser utan fokuserade istället på upplevelser som gränsar till det obehagliga, ibland märkliga, men samtidigt suggestiva upplevelser. För att förstå och bättre artikulera dessa upplevelser valde jag att använda monster teorier, mer specifikt monster teorier från humaniora, samt det som kallats orena eller förorenade upplevelse i social-antropologin. I mitt arbete har jag kommit att definiera monstruösa upplevelser som ambiguösa upplevelser som överskrider eller upplöser synbart motsatta kategorier såsom behagliga versus obehagliga upplevelser. Det gör jag genom att designa med teknik på kroppen som begränsar, trycker, ändrar sin form, skapar viktförändringar, eller alienerar oss från våra egna kroppsliga rytmer, såsom vår andningsrytm. Dessa monstruösa erfarenheter utgör ett sätt att hantera några av de problem som uppstår när vi gör alltför skarpa dualistiska åtskillnader i interaktionsdesign. Genom analysen av mina, The room for the public defence have been altered, from room D3 to D2.QC 20230516

In the following thesis, I intend to examine nature and the nature-motive in two short-stories, “The furies from Borås” and “Three weeks of happiness”, by the Swedish horror author Anders Fager. The purpose of the study is therefore to primarily illustrate how the monstrous is portrayed from an ecocritical perspective. An additional area of focus for the essay is the author's portrayal of female monsters and therefore the presentation of gender and sexuality in the short stories. This thesis will be based on a meticulous reading of Fager's short stories from the theoretical perspective, ecocriticism, as well as relevant previous research in horror fiction and female monstrosity. In my analysis, I argue that Fager transfers the reader from a safe and familiar place to a horrifying, uncomfortable and unsure space where monsters lurk around every corner. The nature motif is reflected differently in the short stories and thus relates to different ecocritical approaches. The anthropocentric approach and Morton's dark ecology are two recurring examples. Furthermore, I discuss how the female monstrous characters are norm- breaking since they question previous notions of the woman as the victim. A stereotype established by patriarchal structures that has long prevailed even in horror literature.

The password is the first line of defence in most modern web services, it is therefore critical to choose a strong password. Many previous studies have found patterns to improve in global users password creation but none have researched the patterns of Swedish users in particular. In this project, passwords of Swedish users were gathered from underground forums and analyzed to find if Swedish users create passwords differently from global users and if there are any weak patterns in their passwords. We found that Swedish users often use words or names found in a Swedish NLP corpus in their passwords as well as using lowercase letters more frequently than global users. We also found that several of the most popular Swedish websites use weak password policies which might contribute to Swedish users choosing weak passwords., Lösenordet är den första försvarslinjen i de flesta moderna nät tjänsterna, det är därför kritiskt att välja ett starkt lösenord. Många tidigare studier har upptäckt mönster som kan förbättras i globala användares lösenord men ingen har tidigare forskat på mönster hos just svenska användare. I det här projektet har vi samlat lösenord av svenska användare från olika undergroundforum och analyserat dem för att ta reda på om svenska användare skapar sina lösenord annorlunda från globala användare och ifall det finns några svaga mönster i lösenorden. Vi fann att svenska användare ofta använder ord eller namn från en svensk NLP korpus i sina lösenord och även att svenska användare använder små bokstäver i högre grad än globala användare. Vi fann även att flera av de mest populära svenska hemsidorna har svaga lösenordspolicys vilken kan bidra till att svenska användare väljer svaga lösenord.

This text discusses the concept of interruption. While the word ‘interruption’ has a general meaning as “an action, utterance, or period that interrupts someone or something.” , in this text, I will focus on a few specific aspects related to this definition. The content for this text is based on my studio practice and research, exploring topics such as being an outsider and questioning connections between Self and Others in social and psychological contexts. It is important to note that, as an artist and individual, life itself has always been the primary source of inspiration for me, rather than the contents or works of others about life. This aspect makes the entire creative process highly personal to me. However, I have also endeavored to broaden my perspective and seek connections with the outside, drawing from my personal experiences. In my studio, I create drawings using various materials. From inks for two-dimensional works to steel bars and wires for drawing in three-dimensional space, my preferred medium is primarily ballpoint pen on paper. For me, the act of mark-making serves as a means of exploring my feelings and thoughts about what is happening within and around me. As mentioned, drawing forms the foundation of this artistic journey. This text aims to establish connections between titles such as “Unconscious”, “The Monster”, and the quality of “Unfinishedness”, with the concept of interruption and the notion of the other.

The novel Mandíbula(2018) by Mónica Ojeda reveals a configuration that can be recognized as monstrous around the maternal figure from, mainly, two aspects: the gestation of the mother as a being that devours and drowns her offspring (conceived as a violent matrix) and alienation through an animalized representation that lacks human referents and is shown to be similar to elements of the animal or vegetable kingdom or horrific topics such as the notion of the witch. In this sense, our research will stop at the images linked to domestic spaces that represent disruptive figurations for the teacher Clara, and the students Annelise and Fernanda. For this, we will locate the house-womb that constitutes a simile of a female body that the daughters simultaneously yearn for and repel.Therefore, we will mainly use the category of monster outlined by Mabel Moraña in El monstruo como máquina de guerra(2017) and by Elena del Río in Una era de monstruos. Representaciones de lo deforme en el Siglo de Oro español(2003), since it will help us to detect fissures within the rational discourse and the emergence of a singular affiliation. Similarly, we will point out the dangers of unhealthy closeness for progeny based on articles by Luce Irigaray (1994) and Jacques-Alain Miller (2005)., La novela Mandíbula (2018) de Mónica Ojeda da cuenta de una configuración que se puede reconocer monstruosa en torno a la figura materna desde, principalmente, dos aristas: la gestación de la madre como un ser que devora y ahoga a sus crías (homologación con una matriz violenta) y la extrañificación mediante una representación animalizada que carece de referentes humanos y se muestra semejante a elementos del reino animal y vegetal, o tópicos hórridos como la noción de la bruja. En ese sentido, nuestra investigación se detendrá en las imágenes vinculadas a los espacios domésticos que representan figuraciones disruptivas para la profesora Clara, y las estudiantes Annelise y Fernanda. Para ello, ubicaremos la casa-útero que se constituye símil de un cuerpo femenino que las hijas simultáneamente anhelan y repelen. Así, nos valdremos, principalmente, de la categoría de monstruo trazada por Mabel Moraña en El monstruo como máquina de guerra (2017) y por Elena del Río en Una era de monstruos. Representaciones de lo deforme en el Siglo de Oro español (2003), puesto que nos servirá para detectar fisuras dentro del discurso racional y la emergencia de una filiación distinta. De manera similar, señalaremos los peligros que conlleva una cercanía malsana para la progenie basándonos en los artículos de Luce Irigaray (1994) y de Jacques-Alain Miller (2005).

Mary Shelley develops her philosophical thinking in her literary creation. In Frankenstein she confronts us with our humanity through the complexity of her characters, which represent a critique of the author's patriarchal society, of the relationships between individuals, of the development of science, and even of our relationship with nature. These themes are explored in this work, showing how Mary Shelley, having grasped the tragic nature of myths, shapes around Víctor Frankenstein's transgression a deep reflection on knowledge, identity and difference., Mary Shelley desarrolla su pensamiento filosófico en su creación literaria. En Frankenstein nos enfrenta con nuestra humanidad a través de la complejidad de sus personajes, los cuales representan una crítica a la sociedad patriarcal de la autora, a las relaciones entre individuos, al desarrollo de la ciencia e, incluso, a la relación que mantenemos con la naturaleza. Se exploran en este trabajo estos temas, dando cuenta de cómo Mary Shelley, habiendo captado el carácter trágico de los mitos, configura en torno a la transgresión de Víctor Frankenstein una profunda reflexión sobre el conocimiento, la identidad y la diferencia.

Los estudios cognitivos aplicados a la literatura abordan la experiencia corporal que activa la lectura. A partir del paradigma de la simulación encarnada o la teoría de la lectura empática, este trabajo desarrolla la hipótesis del cuerpo híbrido emergente formado por una confluencia virtual del cuerpo del lector y el ficcional del personaje literario. Esta experiencia encarnada en las vivencias del personaje ficticio que posee rasgos corporales monstruosos, como algunas protagonistas de la narrativa de lo inusual, aboca al lector a una vivencia fantástica de su propia corporalidad., Cognitive studies applied to literature take into consideration body experiences during reading. By resorting to the paradigm of embodied simulation and the theory of empathic reading, this paper develops the hypothesis of an emergent hybrid body constituted by the virtual convergence of the reader’s body and the fictitious character’s body. This embodied experience of characters having monstrous bodies, such as some protagonists in the narratives of the unusual, entails a fantastic inhabitation of the reader’s own body.

Edward Scissorhands (1990), by artist and film-maker Tim Burton, is a movie about an unfinished, mis-understood creation that is rejected by society. This paper analyzes such concepts as well as how Burton, through symbolic film code and intertextuality, reinterprets different key traits and signature topics of the gothic genre in his most personal and critically acclaimed film to date. Furthermore, this article will discuss the similarities between Mary Shelley’s Frankenstein (1818) —one of the first and most excellent examples of the Gothic literature— and Burton’s movieto show howhe combined different elements that fit under such genre in order to create a modern, memorable tale in the cinematic tradition., Eduardo Manostijeras (1990), del artista y cineasta Tim Burton, es una película sobre una creación inacabada, incomprendida y rechazada por la sociedad. Este artículo analiza dichos conceptos y cómo Burton, a través del código cinematográfico simbólico y la intertextualidad, reinterpreta diferentes rasgos clave y temas característicos del género gótico en su película más personal y aclamada por la crítica. Además, analizaremos las similitudes entre la novela Frankenstein (1818) de Mary Shelley, uno de los primeros y más excelentes ejemplos de la Literatura Gótica, y la película de Burton para mostrar cómo este combinó diferentes elementos propios de ese género para crear un cuento moderno y memorable dentro de la tradición cinematográfica.

This paper analyzes the short story by Mariana Enríquez Las cosas que perdimos en el fuego included in the homonymous volume, which narrates the way in which a group of women decide to confront a wave of feminicides in Argentina by throwing themselves into bonfires with the purpose of mutilating their bodies. First, the construction of the fantastic in the story will be analyzed, with its respective problematizations, in order to proceed to examine to what extent this text fits in with some of the previous notions of the great theorists of the genre. Next, the mimesis of historical reality in the text will be considered, as well as the strategies with which a political and social problematic is addressed, specifically, the exercise of counter-writing on the female body. Having reviewed these concepts, the conclusions of the article will address the effect that this tale generates in the readers and the relevance of Mariana Enríquez's fantastic literature in the present day. The article will conclude with a reflection on the emergence of the notion of the unusual as a response to the necessity of rethinking the already existing categories., En este trabajo se abordará el análisis del relato de Mariana Enríquez Las cosas que perdimos en el fuego incluido en el volumen homónimo, que cuenta la forma en que un grupo de mujeres decide enfrentarse a una oleada de feminicidios en Argentina lanzándose ellas mismas a hogueras con el objetivo de mutilar su cuerpo. Se analizará en primer lugar la construcción de lo fantástico en el relato, con sus respectivas problematizaciones, para proceder a examinar en qué medida este texto encaja en algunas de las nociones previas de los grandes teóricos del género. A continuación, se considerará la mímesis de la realidad histórica en el texto, así como las estrategias con las que se aborda una problemática política y social, en concreto, el ejercicio de contraescritura sobre el cuerpo femenino. Habiendo revisado estos conceptos, las conclusiones del artículo abordarán el efecto que este relato genera en los lectores y la pertinencia de la literatura fantástica de Mariana Enríquez en la actualidad, para concluir con una reflexión sobre el surgimiento de la noción de lo insólito como respuesta a la necesidad de replantear las categorías ya existentes.

Department: Illustration, Advisor: Barbara Reitschel, Committee member: Brendan Leach, In Chinese Folklore, monsters and elves represent the wisdom of the ancient, containing the Chinese religion and philosophy of over for more than four thousand years. Thus, they have symbolic meanings for both primitive and modern societies. The meanings have changed over time, as have the images and the context which has enabled them to become an excellent creative resource for illustrators and artists today., There are myths and legends about monsters and elves in Chinese dynasties. The Classic of Mountains and Seas, a massive collection of Chinese monsters, opens the era of picture reading for the ancient Chinese. There are also other famous folklores such as Anecdotes About Spirits and Immortals, Strange Tales from a Chinese Studio and Journey to the West, providing precious documents for the art of contemporary illustration and carrying forward the Chinese traditional culture. More interestingly, as time goes by, some monsters who were originally good have been gradually demonized. In recent times, the development of science made demons less known for China, while in Japan they flourished and are still active in Japanese pop culture., This paper will inspect the monsters’ aesthetic and historical origins in Chinese folklores by exploring relevant images and documents from the past to today along with the artists who created them. Then the author hopes to explore how monsters and elves were or were not changed when reemerging in China after being introduced in Japan. Therefore, the artists can have a whole picture of the demons and elves in Chinese art.