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  • 1.
    Andersson Munoz, Linda
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Det finns - Giraffer i Tallskogen2016Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Räv och Katt bor i en skog tillsammans med en massa andra djur, och har det ganska bra. När det kommer en grupp främmande djur till skogen i behov av hjälp, lovar Räv att hjälpa dem – men de andra djuren vägrar. Räv ger sig iväg med de nya djuren, medan Katt väljer att inte följa med. Räv och nydjuren bygger upp ett nytt hem på ett kalhygge. Katt blir kvar hos gammeldjuren, som tycker illa om Räv. Katt inser att hen och skogsdjuren gjort fel. Hen börjar att försvara Räv inför de andra skogsdjuren. Det blir bråk. Katt rusar ut mitt under en stor storm, och hamnar i en knipa. Räv och ett nydjur hjälper hen, tack och lov – och Katt kan äntligen be dem om förlåtelse. 

    Stormen har förstört de gamla skogsdjurens bon och förråd – nu är det ombytta roller: Katt, Räv och Nydjuren väljer att hjälpa de gamla skogsdjuren. Tillsammans bygger gammel- och nydjuren upp någonting helt nytt. 

    Det här är historien om hur det hamnade giraffer i en skandinavisk skog. Med den här Det Finns-filmen vill jag ställa frågor som: Vad ska man göra när någon behöver hjälp? Är det okej att vara rädd, tveksam eller konstig? Får en ändra sig? och andra frågor jag själv tänkte mycket på när jag var barn.

  • 2.
    Arvidsson, Pär
    Umeå University, Faculty of Teacher Education, Child and Youth Education, Special Education, and Counselling.
    Låt eleven växa med uppgiften: Fallstudie om lärlingsprogrammet på Bromangymnasiet2006Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Regeringen har fastställt att år 2007, då den nya gymnasieförordningen träder i kraft, att alla kommuner i Sverige ska ha lärlingsutbildning som ett alternativ till den befintliga yrkesutbildningen. Vi som är blivande studie- & yrkesvägledare anser att det är av yttersta vikt för vår yrkeskår att få reda på hur detta kan komma att se ut i praktiken. Vi har därför valt att göra en kvalitativ fallstudie om försöksverksamheten av ett specialutformat lärlingsprogram på Bromangymnasiet i Hudiksvall. Vår datainsamling har skett genom litteraturstudier samt kvalitativa intervjuer. Genom en intervju med programansvarig har vi tagit reda på hur utvecklingen av programmet växt fram och hur man har valt att utforma lärlingsprogrammet. Vi har gjort kvalitativa intervjuer med programansvarig, handledare/företagare och nuvarande lärlingar. De handledare/företagare och nuvarande lärlingar som är direkt ute i verksamheten har berättat utifrån sina upplevelser om hur de tycker lärlingsprogrammet fungerar både teoretiskt och praktiskt. Undersökningen utgår ifrån litteraturstudier och programansvarig, handledare/företagare och lärlingarnas berättelser om hur de upplever lärlingsprogrammet. Mottagandet av lärlingsutbildningen har i stort sätt varit positivt. När det väl var etablerat och både arbetsliv och skolan insåg att detta fungerade bra så växte programmet och intresset ute i arbetslivet blev större för att ta emot lärlingar. De elever som vi har intervjuat som har valt lärlingsutbildning som alternativ är också nöjda med sin utbildning. Vår uppfattning om lärlingsprogram har förstärkts efter vår undersökning och vi är ännu mer övertygad att detta är ett bra alternativ till de yrkesutbildningar som finns idag.

  • 3.
    Baltz, Andre
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Through a media lens – The Crimean Crisis: A Discourse Analysis of Media Perspectives on the New Crimean Crisis2014Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The Aim of this essay is to study how the Crimean Crisis is being portrayed in international newspapers of Frankfurter Allgemeine, The New York Times and Pravda. The time period for the study is the 25th of February until the 30th of April in the spring of 2014. To concretize the aim 3 questions were formulated; how different discourses are formed in the material, how is Russia’s involvement in the conflict and its views portrayed in the newspapers and how does the stereotyping through metaphors, metonymies and binary oppositions help the construction of Russia as “the other” in this conflict. The Methods chosen to investigate these questions were Laclau & Mouffes Discourse Analysis combined with linguistic tools such as metaphors and binary oppositions. The Theories chosen to support the method was Laclau & Mouffes discourse theory and linguistic theory.

    The Results have portrayed different perspectives on the discourse of the conflict, each of which also could be representative for the different sides in the conflict. One nodal point, mainly pushed forward by Western actors and Western media, was one of Invasion. Russian actors and eastern media mainly pushed forward another nodal point, one that emphasised protection rather than invasion in the discourse of the conflict in Crimea. Western Media together with Western Actors suggested strong connections to Russia when discussing the military troops active in Crimea whereas Russia initially claimed no part in it, but later developed a nodal point of protectionism when that claim no longer could be defended. Russia has in many instances been portrayed as aggressive or bad which has continued to build upon the picture of Russia as the “bad other” - the binary opposition to the good west. Indications has also been found that conflict, besides national interests, can be based on a different view of democracy where the West implies that the development in Ukraine is a step towards a free democracy, while Russia who values constitutional order rather sees the development as a fascist coup against a legit government. 

  • 4.
    Barrett, James
    Umeå University, Faculty of Arts, Department of language studies. Umeå University, Faculty of Arts, Humlab.
    Virtual worlds and indigenous narratives2013In: The immersive Internet: reflections on the entangling of the virtual with society, politics and the economy / [ed] Robin Teigland and Dominic Power, Basingstoke: Palgrave Macmillan, 2013, First, 77-91 p.Chapter in book (Refereed)
    Abstract [en]

    The chapter introduces trans-cultural comparisons of narrative. The comparison is based on close readings of four Australian Aboriginal narratives for their portrayal of the body, place and identity. From the close readings a comparison is introduced concerning narrative and how embodiment, place and identity function in virtual worlds.  By paying respectful attention to the Aboriginal narratives, a sustainable model for narrative is introduced for virtual worlds. Co-creation, navigation and spatial mediation are central to both narrative systems, not as fiction but from experience and knowledge. This brief comparative study of narrative introduces sustainable practices from the ancient Australian Aboriginal traditions as relevant for understanding online virtual worlds as sites of narrative.

  • 5.
    Barrett, James
    et al.
    Umeå University, Faculty of Arts, Humlab.
    Jenna, Ng
    University of York.
    A Pedegogy of Craft: Teaching culture analysis with machinima2013In: Understanding Machinima: Essays on Filmmaking in virtual worlds / [ed] Jenna Ng, New York: Bloomsbury Academic, 2013, First, 227-244 p.Chapter in book (Other academic)
    Abstract [en]

    Machinima films are commonly associated with various other media forms such as games, television, cinema, theatre and music videos. Sprung from gameplay, machinima originated as gaming “demos” – data logs which can be played back on a game engine to re-live past events in a game world, typically used to re-play gamers’ high jinks or record performances (Lowood 2005; Lowood 2006; Nitsche 2007) – in a process already cinematic in its Lumiére Brothers-esque recording of game reality (Burke 2012). Such “high-performance play” (Lowood 2005, 11) morphed into narrative cinema with The Rangers’s hacking of Quake (id Games 1994) to make Diary of a Camper in October 1996 (Lowood 2006), as the gamers appropriated the game’s camera perspective (from FPS to an independent viewpoint), edited disparate shots and formulated visual narrative with its sequences. As machinima evolved, other media forms drove its format, language and aesthetics. Well-known machinima such as Red vs Blue and Bill and John, for example, adapt the episodic format of comedy television and rely on theatrical comic timing and voice acting, even to a certain Brechtian absurdism (Avers), for their success. Michael Nitsche directly links machinima with live performance “acted out inside the virtual world and presented in different formats to the audience.” (Nitsche, Film Live) Other scholars see works such as The Edge of Remorse (Hancock and Ingram 362) and Rise of the Living Dead (Pigott 2011) as particularly cinematic. Elements of older media are not only integrated, but are subverted: Jeffrey Bardzell discusses a “resistance stance” in machinima that “seeks to subvert the reality of the game or subordinate it to the vision or meanings that the machinimator seeks to express” (Bardzell 2011, 208).

    There is thus already much scholarship in studying machinima with respect to screen media and performance. Yet, one aspect of machinima that has not been discussed as much so far is how machinima is also very much a made object, composed both as a technology and as a thing. In making machinima, game technologies are modified, subverted, adapted, even re-created.[i] However, that form of making is merely one part of the story – creating machinima also involves drawing up and building virtual objects, creating and dressing avatars (often with custom-made clothes, accessories and skins), designing or selecting sets, writing scripts and recording acting voices. In that respect, machinima is also a thing – an object – constructed through a series of processes and fashioned with a whole set of skills. This crafting of machinima, in the sense of it being formed as a complex digital artefact, is often overshadowed by its more dominating importance of it being a media object. We propose that prioritizing process over object not only presents an alternative perspective to understanding machinima, but also deflects attention onto the contingency of media and, by extension, new methods of making and extracting meaning. As Nicholas Thoburn argues, media is transformed as “they enter into new external relations, new ecologies – and traversed by a multiplicity of forces and struggles” (2012, 817). Shifting the theoretical focus to the making of media taps into this fluid placing of media in its flux of relations and ecologies so that we may further understand how the creating of media itself can become a space of political and social transformation.

    At first glance, the connection between machinima and craft appears tenuous. As Oliver Morton, editor-in-chief of Wired magazine (Europe), first observed in 1995, computer technologies remove the aspect of “hands-on” making in craftwork. (Dormer 1997, 137) The common notion of craft involves a tangible object – “the thing made by human hands” (Paz) – such as a pottered water jug or a handwoven basket, invoking sensuality, physicality, and the organic. Craft also implies elements of physical skill, of “cumbersome manual techniques” (Turim, 51) which gives rise to a slow, tactile and responsive process of creation. Images from Denis Diderot’s Encyclopédie, for example, depict craftsmen hunched at large tables, bent over their tools in workshop-like environments, hands busily working away at unfinished products. On the other hand, machinima, like all digital objects, is fundamentally immaterial. It may be contained in something tangible such as a DVD (indeed, the CD-ROM accompanying Machinima for Dummies contains, among others, some of the authors’ “top ten Machinima films”) or a thumb drive containing a demo file, both of which may, in different ways, provide access to the game movies they store. However, its basic ontology – as a film – is binary code, strings of zeros and ones, which as an artefact or object do not take any humanly recognizable material form. Furthermore, with so many computer processes in the making of machinima – moving avatars, recording onscreen captures, editing digitally, uploading and distributing online – there appears to be little “hands-on” making, save for perhaps the prodigious controlling of a computer mouse. How, then, might machinima be seen as craftwork?

    Yet, we see this linkage as an important one. The connection between making and understanding is a close and well-known one, whereby it is acknowledged that we often understand something best by actually making it. Machinima as craft thus formulates also a means to the learning of knowledge and skills. As we will argue, the process of making imparts valuable skills and places learning in different frameworks, re-formulating concepts and ideas so as to make them more memorable and allowing for more effective analysis. In a wider scale, machinima thus also offers pedagogy the possibility of making – and learning – in numerous media contexts, such as film, music video, theatre, design, architecture and performance, and in relatively cheap and efficient ways, without the need for costly equipment, such as physical cameras, or complicated logistics of onset filming and recording.

    This chapter proceeds as follows. We first discuss how machinima may be deemed to be craft through canvassing its definition, before examining the characteristics of making machinima and comparing them to those for traditional craftwork. The next section explicates the connection between craft and teaching, primarily as it is used in HUMlab, Umeå University. We then describe a case study from the lab which uses precisely those qualities of craft in machinima as a teaching method for a second-year media and culture course, Cultural Analysis. In the process, we also examine these questions: what were the motivations of using the aspect of “making” in machinima as part of the course? How was it done? What did it achieve?

    [i] Although this is being increasingly qualified with machinima-specific software such as The Movies and Moviestorm, and with embedded machinima software in games such as Halo.

  • 6.
    Beijar, Jessica
    Umeå University, Faculty of Arts, Department of culture and media studies.
    "Jag blir den du säger att jag är": Intagnas upplevelser kring bemötande och maktutövning på kriminalvårdsanstalt.2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Prisons are for many an unknown world, and few know about the prison culture which includes unwritten rules, power structures, interactions and relationships between inmates and correctional employees.

    While many think that Swedish prisons are too comfortable,inmates are facing extreme stress due to surveillance and detention, by depriving inmates their possibility to shape their own lives. When the inmates is deprived of control over their own life’s the penal system have great power to shape and to influence the inmates.

    The purpose of this paper is to investigate prisoners' experiences of treatment and exercise of power in prisons. Starting point is to examine what are the kinds of relationships between prison officers and inmates from a power perspective, if there is any difference between the closed and open prisons and how the inmates affected by the structures that exist.

    Based on my overall purpose, and with my informant´s stories which revealed a number of similar points, four main headings were developed; Mass media and society´s view, and unknown world, interaction between inmates and prison officers and consequences.

    Prison officers with the role as a contact persons as well and other staff which work close to the inmates play a significant role by supporting through motivational interviewing and can help the inmates to gain insight about their life situation and actions. My informant’s underlined that a good contact person can either help or discourage.

    Inmates who contributed with their experiences express that there is a big difference between open-and closed prisons. They express that prison officers at a maximum security prison is more authoritarian and abuse their power more than prison officers at the open prisons. Some of the inmates have experienced disparaging attitudes and violations. . Throughout our lives there is a constant search for identity and confirmation, the treatment from the staff is very important for how the inmates perceive their time in prison, but it is also important for how the inmates is formed as people and how their self-image and identity are affected.

    Many in our society have a static and preconceived image of prisons and the people behind the bars and these structures and power games have consequences, the inmates starts to accept their role in the society.

  • 7.
    Berg, Susann
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Ester och de försvunna barnen2016Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
  • 8.
    Bjelkedal, Elsa
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Kaféets roll med museet som arena: Med Västerbottens museum som utgångspunkt2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 9.
    Buckland, Philip I.
    Umeå University, Faculty of Arts, Department of historical, philosophical and religious studies, Environmental Archaeology Lab. Umeå University, Faculty of Arts, Humlab.
    The Bugs Coleopteran Ecology Package (BugsCEP) database: 1000 sites and half a million fossils later2014In: Quaternary International, ISSN 1040-6182, E-ISSN 1873-4553, Vol. 341, 272-282 p.Article in journal (Refereed)
    Abstract [en]

    The Bugs database project started in the late 1980s as what would now be considered a relatively simple system, albeit advanced for its time, linking fossil beetle species lists to modern habitat and distribution information. Since then, Bugs has grown into a complex database of fossils records, habitat and distribution data, dating and climate reference data wrapped into an advanced software analysis package. At the time of writing, the database contains raw data and metadata for 1124 sites, and Russell Coope directly contributed to the analysis of over 154 (14%) of them, some 98790 identifications published in 231 publications. Such quantifications are infeasible without databases, and the analytical power of combining a database of modern and fossil insects with analysis tools is potentially immense for numerous areas of science ranging from conservation to Quaternary geology.

    BugsCEP, The Bugs Coleopteran Ecology Package, is the latest incarnation of the Bugs database project. Released in 2007, the database is continually added too and is available for free download from http://www.bugscep.com. The software tools include quantitative habitat reconstruction and visualisation, correlation matrices, MCR climate reconstruction, searching by habitat and retrieving, among other things, a list of taxa known from the selected habitat types. It also provides a system for entering, storing and managing palaeoentomological data as well as a number of expert system like reporting facilities.

    Work is underway to create an online version of BugsCEP, implemented through the Strategic Environmental Archaeology Database (SEAD) project (http://www.sead.se). The aim is to provide more direct access to the latest data, a community orientated updating system, and integration with other proxy data. Eventually, the tools available in the offline BugsCEP will be duplicated and Bugs will be entirely in the web.

    This paper summarises aspects of the current scope, capabilities and applications of the BugsCEP database and software, with special reference to and quantifications of the contributions of Russell Coope to the field of palaeoentomology as represented in the database. The paper also serves to illustrate the potential for the use of BugsCEP in biographical studies, and discusses some of the issues relating to the use of large scale sources of quantitative data.

    All datasets used in this article are available through the current version of BugsCEP available at http://www.bugscep.com.

  • 10.
    Buckland, Philip I.
    et al.
    Umeå University, Faculty of Arts, Department of historical, philosophical and religious studies, Environmental Archaeology Lab.
    Eriksson, Erik J.
    Umeå University, Faculty of Arts, Department of historical, philosophical and religious studies, Environmental Archaeology Lab.
    Palm, Fredrik
    Umeå University, Faculty of Arts, Humlab.
    SEAD - The Strategic Environmental Archaeology Database: Progress Report Spring 20142014Report (Other academic)
    Abstract [en]

    This report provides an overview of the progress and results of the VR:KFI infrastructure projects 2007-7494 and (825-)2010-5976. It should be considered as a status report in an on-going long-term research infrastructure development project.

  • 11.
    Burman, Christo
    Umeå University, Faculty of Arts, Comparative Literature and Scandinavian Languages. Drama-Teater-Film.
    Osynligheten tar vid där ruinerna slutar2005In: À Derrida x 13, Institutionen för konstvetenskap, Umeå universitet: Umeå , 2005, S. 59-63 p.Chapter in book (Other academic)
  • 12.
    Cadriani, Nouvell
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Fantomminne2016Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Cera Sköld kan inte känna. Känselsinnet är en förmån och inte en förutsättning

    och det har format världen till vad den nu är. Precis som Cera så föds nära hälften av

    befolkningen utan känselsinnet och dessa kallas för de Kalla, i motsats till de Fulländade som

    har alla sina sinnen intakta.

    Cera skiljer sig från mängden för hon lever mellan klasserna. Hon har aldrig fullständigt känt

    sig hemma någonstans. Hon ses som en Kall av resterande världen, men hon har också ett

    Fantomminne som flammar upp som gör att hon inte fullt ut kan relatera till de Kalla.

    För att under dessa få tillfällen kan hon känna. Hon har aldrig förstått denna åkomma och

    lever ett liv i limbo. Hon har som många andra lärt sig att acceptera livet hon har givits, men

    hon har en gnista inom sig som gör att hon fortfarande hoppas på något bättre.

    Cera lever ett ensam liv där hon tagit avstånd från sin familj. Hennes liv består av att jobba

    natt på ett sjukhus och vara ensam i sin lägenhet på dagarna. Hon har lite kontakt med

    människor runt omkring och Fantomminnet har svalnat rejält sen hon var liten.

    Men så hittar hon en skadad främling i ett medicinvalv som hon hjälper. Främlingen avslöjar

    att hon tillhör Fåglarna, en motståndsgrupp som räddar barn som kidnappats för

    experimentella syften. Fåglarnas slutliga mål är att avsätta den nuvarande ledaren Dr. Aubert

    som ligger bakom detta. Han är en karismatisk ledare som är älskad av sitt folk och han

    utnyttjar sin makt för nå ett mål som han håller dold.

    Fåglarna erbjuder Cera en plats hos dem, hon nekar det först men när hon med egna ögon

    bevittnar ett mord på ett barn så ansluter hon sig till Fåglarna. Cera stöter på många

    motgångar och hemligheter. Med hjälp av hennes nya vänner utvecklar hon ett mål och får en

    förstahands inblick på orättvisorna. Samtidigt gör hon en inre resa som får henne att utvecklas

    och hon får reda på att det ligger mer bakom Fantomminnet än hon från början trott. Ceras

    personliga problem hänger tätt ihop med de yttre problemen de försöker bekämpa. Och efter

    mycket kamp och förluster så lyckas Cera och Fåglarna avsätta Dr. Aubert och experimenten

    på barnen når ett slut.

    Cera är inte längre ett offer för förutsättningar hon fått utan hon skapar sina egna. I slutet

    beger hon sig ut på en resa för att hitta sin familj och efterforska deras största hemlighet,

    vilket är hur mutationen som gjorde att hälften av mänskligheten föddes utan sitt känselsinne

    egentligen uppkom.

  • 13.
    Carlquist, Jonas
    Umeå University, Faculty of Arts, Department of language studies.
    The Use of Emotions in St Bridget's and St Catherine's Revelations2009In: On Editing Old Scandinavian Texts: Problems and Perspectives / [ed] Fulvio Ferrari & Massimiliano Bampi, Trenti: Università degli Studi di Trento , 2009, 97-122 p.Chapter in book (Other academic)
  • 14.
    Carlsson, Eric
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Att återta territoriet: En studie av Sveriges Televisions samhällsprogram Fittja Paradiso2000Independent thesis Advanced level (degree of Master (One Year))Student thesis
  • 15.
    Carlsson, Eric
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Medierad övervakning: En studie av övervakningens betydelser i svensk dagspress2009Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This doctoral thesis explores the use of surveillance images and discourses of surveillance in the Swedish press. Questions concerning surveillance appear frequently in the news today. The ongoing »War on Terror« has generated numerous news reports informing their audiences how surveillance technologies will protect society, prevent terrorist attacks, and ensure security. The purpose of the study is to examine representations of surveillance in Swedish newspapers, more specifically, how they use surveillance- and amateur images in their reporting. In order to carry this out, the thesis sets up two areas of concern: news on terrorism and news on police violence. The questions that produce the field of inquiry relate to how discourses of surveillance are articulated in text and image. They also concern construction of social identities related to reproduction of power relations, normality, and deviance. Research material used in this study consists of journalistic texts and visual images published in mainly four major Swedish newspapers; Aftonbladet, Expressen, Dagens Nyheter and Svenska Dagbladet. A qualitative research strategy was undertaken inspired by discourse analysis. The analysis focuses on four major issues: representations of terrorists, intensified surveillance, victims, and representations of police violence. The analysis concentrates on surveillance images that were used by news media to visually represent the terrorists involved in the so called »London bombings« in 2005. The thesis also highlights how politicians and other experts become the predominant subjects who proclaim the need for a more modern, efficient, and enhanced surveillance technology. A further issue ofinterest concerns media representations of victims and especially how the construction of victims reproduces normality, and further, how victimisation is related to surveillance. The newspapers used amateur footage from ‘the bomb scene’ in ways that represent the victims, not as objects, but as active agents participating in an act of surveillance. How the public become represented as victims of the surveillance society is examined. Dystopic stories about negative aspects of surveillance including islamophobia and fear of intrusion of privacy emerge as major themes. Finally, the study seeks to connect surveillance to resistance. Different media events on police violence are discussed in the light of events that have been filmed by amateur video or surveillance cameras. Surveillance in a mediated context is a complex field with many different and contradicting meanings and connotations. However, it is clear that surveillance links up with security, resistance, power and control, intrusion of privacy, and above all, to the reproduction of social differences between Us and Them. The news media seems to promote a public discourse of fear, which may contribute to legitimisation of both present and future demands for intensified surveillance. Nonetheless, mediated surveillance may also help to resist and challenge power hierarchies in society and promote social change.

  • 16.
    Carneiro, Camila
    Umeå University, Faculty of Science and Technology, Umeå Institute of Design.
    ACCESSIBILITY FOR ILLITERATES IN THE CURRENT BRAZILIAN SOCIETY: INTRODUCING FUNCTIONAL ILLITERATES TO MOBILE BANKING SERVICE2012Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The objective of this project is to approximate the functional illiterates population to the society within the Brazilian banking service in a more accessible way: through their personal mobile phones. It aims to enhance the social integration of the illiterate people by experiencing this service developed through a process focusing on their feedback, wishes and expectations augmented with the designer’s background.The mobile phone it is quite accessible in developing countries, like Brazil, and counts on technology that enhances the user's interaction; the banking service is a facilitator concerning the economic life of any citizen. Both aspects were the starting point of this project due their importance in the everyday life and relevance for a person’s autonomy.My personal goal is also to use this project to alert the society about the issues regarding the social life of an illiterate – their difficulties and fears towards daily situations – through a consistent project that can be used as a reference to develop products and services towards this group of potential users.

  • 17.
    Chapman, Adam
    et al.
    University of Gothenburg.
    Foka, Anna
    Umeå University, Faculty of Arts, Humlab. Centre for gender studies, University of Oslo.
    Westin, Jonathan
    What is historical game studies?2017In: Rethinking history, ISSN 1364-2529, E-ISSN 1470-1154, Vol. 21, no 3, 358-371 p.Article in journal (Refereed)
  • 18.
    Cocq, Coppélie
    Umeå University, Faculty of Arts, Archaeology and Sami Studies.
    Stállu – återkomsten: en jämförelse av traditionella berättelser i dåtid och nutid2005In: Ett land, ett folk:  Sápmi i historia och nutid / [ed] Per Axelsson, Peter Sköld, Umeå: Centrum för samisk forskning , 2005, 273-284 p.Chapter in book (Other (popular science, discussion, etc.))
  • 19.
    Cutas, Daniela
    et al.
    Department of Health, Ethics and Society, Maastricht University, Maastricht, The Netherlands.
    Giordano, Simona
    CSEP/ISEI, School of Law, University of Manchester, Manchester, UK.
    Is it a boy or a girl?: Who should (not) know children’s sex and why?2012In: Journal of Medical Ethics, ISSN 0306-6800, E-ISSN 1473-4257Article in journal (Refereed)
    Abstract [en]

    In this paper, we present the case of a couple who refused to disclose the sex of their child to others, and some of the responses that this case prompted in the international media. We outline the ethical issues that this case raises, and we place it into the more general context of parental preferences regarding the gender (development) of their children and of the impact on children of parental choices in the matter. Based on current knowledge of gender identity development, we identify some of the potential pitfalls of such a course of action and we briefly present some alternative strategies that could be implemented in order to ensure more freedom of gender formation in children.

  • 20.
    Dahlrot, Mattias
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Skrivet i sten?: En studie om hällbilder och kulturarv - dess möjligheter, betydelser och nyttjande2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study is about rock art and cultural heritage. The main focus is how the participants in the project Rock Art in Sápmi work with these issues. The aim with the project is to increase the knowledge about rock art and cultural heritage and open up for new thoughts and visions about the past, present and future. The project involves different professions such as archeologists and various kinds of artists.

    Except literature studies, this study is based on interviews with persons who are involved in Rock Art in Sápmi. As the participants work with the material and questions based on various inputs, this provides a broad basis for understanding of what rock art and cultural heritage mean and how they can be used.

    The aim with this study is to examine the meaning of cultural heritage, such as rock art, how it is used and what possibilities it gives us today.

    Cultural heritage is an ambiguous term. It is something that changes over time and cannot be seen as something static. It is obvious that it has and can be used by different groups to prove opinions when the interpretations support a given answer. Furthermore, it is clear that the structures in the society can be seen in the interpretations.

    Due to the ambiguity of the term, different perspectives have been used in this work, for example, gender perspectives and theories of ethnicity. By examining such perspectives on the material, it shows that it is not obvious that a particular interpretation is the only right one. Interpretations can often be dependent on time and structures in the society, built on a variety of factors.

    Depending on what issues that are being discussed, different theories have been tested but a constructivist approach is consistently used, meaning that gender roles and cultural heritage for example, are created by social structures and are not determined.

    This study shows that meanings ascribed to cultural heritage and rock art can be seen as the effects of ideology and time. Interpretations change over time and it is clear that they often say something about how it looks in the societies in which they are made. The man, for example, has often been seen as the norm and women have been disparaged. Besides, the connection between Sami culture and rock art has in some societies been invisible, while in others it has been not. It is also clear that rock art and cultural heritage can be relevant for us today when they show universal human aspirations and challenges.

  • 21.
    Davis, Ann
    et al.
    University of Calgary.
    Smeds, KerstinUmeå University, Faculty of Arts, Department of culture and media studies.
    Visiting the visitor: an enquiry into the visitor business in museums2016Collection (editor) (Refereed)
    Abstract [en]

    The study of the museum visitor has undergone radical transformation. Each author here has asked unfamiliar questions and responded with fresh answers. Some of these questions involve the visitor's identity, what she brings to her museum experience. Can we gain entry into this experience? Does more technology really increase access to the objects themselves? Others probe the very nature of museum going and exhibition making, demanding that we reexamine the traditional exhibition to reposition the visitor and her meaning-making at the centre. The volume provokes imaginative research and encourages new conclusions.

  • 22.
    Drucker, Johanna
    et al.
    University of California at Los Angeles.
    Svensson, Patrik
    Umeå University, Faculty of Arts, Humlab.
    The Why and How of Middleware2016In: Digital Humanities Quarterly, ISSN 1938-4122, E-ISSN 1938-4122, Vol. 10, no 2Article in journal (Refereed)
    Abstract [en]

    The presentation, publication and research platforms used for scholarly work in the Digital Humanities embody argument structures that are not always explicitly acknowledged. This article examines these platforms, and their protocols, as "middleware" that includes such purpose-designed projects as Omeka, and Scalar, and general purpose ones such as Drupal and PowerPoint, to ask how they embody rhetorical assumptions at every level of production (from back-end assumptions about what constitutes the smallest unit of discourse, to the front-end modes of presentation and organization of display). It extends the concept of middleware to include physical and social presentation spaces, activities (such as witnessing), to ask how these, also, perform the rhetorical activity of enunciation, positionality, and other discursive modalities.

  • 23.
    Edenheim, Sara
    Umeå University, Faculty of Social Sciences, Umeå Centre for Gender Studies (UCGS).
    Lost and never found: the queer archive of feelings and its historical propriety2013In: Differences. A Journal of Feminist Cultural Studies, ISSN 1040-7391, E-ISSN 1527-1986, Vol. 24, no 3, 36-62 p.Article in journal (Refereed)
  • 24.
    Edler, Erik
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Buggkungen2016Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Artonårige Leo bor ensam med sin pappa Roger, 45. Johanna, Leos

    mamma dog i cancer när Leo var ett barn. Leo är den mest lovande

    hockeytalangen sen 80-talet i den lilla byn Strömsund. Leo lever

    för hockeyn, alla kompisar och bekanta tror han kommer bli den nya

    Peter Forsberg. Tv-Pucken väntar och där kommer de flesta

    hockeyscouter vara för att hitta nya talanger för att rekrytera

    till SHL. Leo och bästa kompisen Danne har länge varit duon som

    kommer gå långt inom hockeyn enligt deras Tränare.

    Leo träffar Anna efter en dansuppvisning på skolan. Anna utmanar

    den kaxige hockeytalangen om att prova på en buggträning. Leo är

    skeptisk, men antar utmaningen. Arja, 60, den stränga finska

    buggtränaren, som ser potential i den nye buggkillen. Problemet

    för Leo är att både träna bugg och hockey utan att de olika

    parterna skall får reda på det. En lovad hockeytalang får inte

    börja dansa helt plötsligt enligt den oskrivna hockeylagen.

    Under ett dansläger provocerar Håkan så pass att Leo nästan

    misshandlar honom och Anna avbryter slagsmålet och vill aldrig se

    Leo något mer. Leo berättar allt om buggen för Danne, som ställer

    upp för att hjälpa Leo vinna tillbaka Anna och därefter Bugg-SM.

    Leo rymmer från Tv-puckens match och springer mot Bugg-SM

    tävlingen. Tränaren får reda på detta och drar med sig hela laget

    för att om någon i laget har chans att vinna SM i något, så

    ställer man upp för varandra.

    Leo kommer till tävlingen i hockeymundering och ber om förlåtelse

    av Anna. De ställer upp i Bugg-SM, Hockeylaget och Pappa Roger

    kommer och hejar på och tar hem hela vinsten.

  • 25.
    Edlund, Lars-Erik
    Umeå University, Faculty of Arts, Comparative Literature and Scandinavian Languages.
    Ski [Zur Geschichte der Skier.]2005In: Reallexikon der Germanischen Altertumskunde: Bd 28, de Gruyter, Berlin , 2005, 637-639 p.Chapter in book (Refereed)
  • 26.
    Eklund, Julia
    et al.
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Jaako, Amanda
    Umeå University, Faculty of Arts, Department of culture and media studies.
    "De har ju ett syfte med allt de gör": En kvalitativ studie av IKEAs reklamserie Där livet händer2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Is commercialism a threat to authenticity? This is a qualitative research method and study of IKEAs advertising series Där livet händer. To appear genuine and authentic has become highly important for companies and brands. Critical consumption discourses makes it harder for companies to be perceived as genuine.

    Där livet händer was launched autumn of 2016 by IKEA Sweden. An advertising series with a concept that aims to represent swedes in their everyday life. The creators of the production worked to avoid traditional language within advertising, instead they wanted to achieve an authentic expression.

    This study aims to get a better and deeper understanding of advertising where the producer strives for authentic expression. To fulfill the purpose of the study we have used a semiotic analysis of the series Där livet händer, and done qualitative group interviews with different types of consumer groups with different kinds of perspectives on consumption. The theoretical framework for this study is based on Jenkins theory about convergence, Bauman’s theory about consumption culture and Fairclough’s critical discourse analysis.

    This study shows that the consumer’s individual identity projects through consumption controls how they perceive commercial messages. Brands can through authentic expression, as in authentic recognition, reach different types of consumer groups. To be perceived as authentic, however, seems to be more difficult. Especially if you want to reach consumer groups with more critical perspectives on mass consumption. The home is central in the IKEA commercials, it is also strongly related to the origin, presence and human identity. By recognition linked to the nuclear family and the home, IKEA has more or less managed to affect the different consumer groups in this study. 

  • 27.
    Elenius, Lars
    Luleå tekniska universitet.
    Kulturhistorisk beskrivning av byarna Kaunisvaara och Sahavaara i Pajala kommun2008Report (Other academic)
  • 28. Fahlgren, Siv
    et al.
    Sjöstedt Landén, Angelika
    När genusforskningen blir ett hot mot jämställdheten: en diskursanalys av en debattartikel2014In: Tidskrift för Genusvetenskap, ISSN 1654-5443, Vol. 35, no 1, 7-26 p.Article in journal (Refereed)
  • 29.
    Falk, Jenny
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Bedömning i bild: Problematiken kring att rättvist och likvärdigt betygsätta bildelever i högstadiet2013Independent thesis Basic level (university diploma), 10 credits / 15 HE creditsStudent thesis
  • 30.
    Foka, Anna
    Umeå University, Faculty of Social Sciences, Umeå Centre for Gender Studies (UCGS).
    Half-Naked yet Empowered?:  Spartacus (2010-) (Ancient) Gender Equality in Contemporary Television2013In: 12th Annual Hawaii International Conference on Social Sciences, Honolulu Hawaii, 2013Conference paper (Refereed)
    Abstract [en]

    Spartacus is attested in several ancient sources (Plutarch, Appian, and Florus) as the leader of a rebellion against the Roman Republic (73 to 71 BC). Despite that none of Spartacus' historical representations overtly suggest that he aimed at reforming Roman society by abolishing slavery and promoting equality, he has inspired a number of intellectuals across times and cultures as a egalitarian leader. Marx, in the Manchester letter to Engels (1861), considered him a real representative of the ancient 'proletariat’ and members of the German Spartacus League, a forerunner of the Communist Party of Germany. In contemporary popular culture, the most recent reception of the tale of Spartacus is the US Television series Spartacus: Blood and 

    Sand (premiered on Starz in: 2010- followed by a late prequel and a sequel), where he is also portrayed as a just and egalitarian leader.

    In this paper, I will discuss how Spartacus (2010-) promotes social and gender equality as an ancient virtue within a contemporary context. Unlike Spartacus’ historical and other cinematic representations, women play a major role in the 2010- TV series either as slaves that join the rebellion, inspired by the egalitarian Thracian slave-leader, or wealthy Romans who oppose him. Despite incidental nudity, scenes of a sexual and violent nature, a TV MA rating for graphic violence, and strong sexual content in overexposed video stylization, I will show that female characters evolve from the older sexualized and objectified females of gladiatorial Sword and Sandals (e.g. Warrior and the Slave Girl: 1958) to strong and brave action heroines. Finally, I will discuss how the 2010- TV series reflects upon the impact of equality and feminism in the portrayal of the ancient world in our contemporary popular culture. 

  • 31.
    Foka, Anna
    Umeå University, Faculty of Arts, Humlab.
    The digital aesthetic in Atlantis: The Evidence2017In: Ancient Greece in Documentary / [ed] Fiona Hobden and Amanda Wringley, Edinburgh, Scotland: Edinburgh University Press, 2017Chapter in book (Refereed)
  • 32.
    Foka, Anna
    et al.
    Umeå University, Faculty of Arts, Humlab.
    Arvidsson, Viktor
    Umeå University, Faculty of Social Sciences, Department of Informatics. Umeå University, Faculty of Social Sciences, Umeå Centre for Gender Studies (UCGS).
    Digital gender: a manifesto: report on the research workshop: digital gender: theory, methodology, and practice2014Report (Other academic)
    Abstract [en]

    While early day Internet research often hailed “Cyberspace” as an arena where individuals would be liberated from the social shackles of their biological gender, a growing body of research makes evident the exaggerations present within these romanticized claims. Though the online gender divide is rapidly eroding, the Internet remains rooted in society at large. While digital technologies can challenge normative views, they therefore often maintain status quo. Consequently, there is a need to revisit old claims and challenge traditional notions of ”Digital Gender”. In this vein, this manifesto reports and synthesizes findings and discussions from an international workshop titled ”Digital Gender: Theory, Methodology and Practice”, held at Umeå University, Sweden, in early 2014. Against this backdrop, we chart out a new agenda for research on how the digital intermingle with the social in the production of gender. In particular, we argue that scholars must move past the idea of Internet as a separate – virtual – realm and direct attention to the increasingly complex ways that digital technologies permeate social practices, altering the very fabric of society itself. On the one hand, we stress the need for research that focuses on how particular Internet technologies help maintain as well as challenge normative views of gender. On the other hand, we stress the need to uncover how particular material properties of digital technology affect the (un)making of such views. Overall, we also stress the need for scholars of gender to move beyond binary oppositions and to be appreciative of intersectionality in their analyses of digital gender construction.

  • 33.
    Foka, Anna
    et al.
    Umeå University, Faculty of Arts, Humlab.
    Gelfgren, Stefan
    Umeå University, Faculty of Arts, Humlab.
    Visualisering som verktyg och metod för historieforskning2017In: Digital humaniora: humaniora i en digital tid / [ed] Per Olov Erixon and Julia Pennlert, Stockholm: Daidalos, 2017, 147-164 p.Chapter in book (Refereed)
  • 34.
    Foka, Anna
    et al.
    Umeå University, Faculty of Arts, Humlab.
    Katerelou, Amalia
    Kelaidis, Katherine
    Xekalaki, Georgia
    Digital Archaeology? Greece on Focus: Tools, methodologies and trends2017Other (Refereed)
    Abstract [en]

    Archaeology is an interdisciplinary science, as it is a scholarly study of past processes that often combines space, place, natural science, materials and texts in its interpretation. Presently, the majority of practicing archaeologists include digital tools in their work (e.g. data keeping, digital mapping, visualization tools). And recently, digital visualization is trending beyond 3D modelling and landscape reconstruction and into the interactive, scientific visualization of data in order to render relations between geographies and cultures, sensory properties (Betts 2011, Betts 2017, Foka and Arvidsson 2016), external /internal networks and aerial visualizations. On an international level, we have come to speak of the notion of “cyber-archaeology” (Forte 2015): archaeological methods that utilize participatory technology to interact with past artefacts and spaces and to understand the past through reflection and cooperative efforts. Current digital tools and methodologies help capture and display knowledge about the past. While there is considerable room for improvement, both in terms of tools and of methodologies, from composing plain databases to visualizations intended for wider museum audiences, we address here the current progress within Greek archaeological practice and emphasize the importance of sustainable and updated digital research infrastructures in order to enhance access to materials for researchers and laypeople alike.

  • 35.
    Foka, Anna
    et al.
    Umeå University, Faculty of Arts, Humlab. Pufendorf Institute, Lund University, Sweden.
    Misharina, Anna
    Umeå University, Faculty of Arts, Humlab.
    Arvidsson, Viktor
    Gelfgren, Stefan
    Umeå University, Faculty of Arts, Humlab.
    Beyond humanities qua digital: Spatial and material development for digital research infrastructures2017In: Digital Scholarship in the Humanities, ISSN 2055-7671, E-ISSN 2055-768X, Vol. 32, no 2Article in journal (Refereed)
    Abstract [en]

    Universities around the world have increasingly turned to digital infrastructures as a way to revamp the arts and humanities. This article contributes a fresh understanding by examining the material development of HumlabX, a research laboratory for digital humanities at Umeå University, Sweden. Specifically, we approach the empirical case as a timeline of research funding, projects, events, and deliverables to examine how the research laboratory as an organizational and material space developed and evolved in relation to new technology investments. Based on our analysis, we argue that while digital research infrastructures can, indeed, stimulate innovation in and around research, aimed to produce new knowledge, digital technologies carry social and material implications that affect organizational processes. We show that while knowledge production processes at HumlabX were highly influenced by the infrastructural legacy of the past, they indeed directed scholars toward innovation. By discussing these implications in detail, we move beyond the debate of humanities qua digital, and demonstrate the need for scholars of digital humanities to engage in the development of policies for digital research infrastructures. Using a Swedish case study, we argue that research laboratories for the digital humanities must be scrutinized and should be fully exposed as socio-material organizations that develop, and should develop, over time. In particular, we stress the need to ensure that digital humanities laboratories are sustainable and open for redevelopment.

  • 36.
    Formark, Bodil
    Umeå University, Faculty of Social Sciences, Umeå Centre for Gender Studies (UCGS).
    Fältanteckningar om magasinerade flickminnen och ett ambivalent tjejblivande2013In: Finsk tidskrift : kultur, ekonomi, politik, ISSN 0015-248X, no 7/8Article in journal (Other academic)
  • 37.
    Fredman, Peter
    Umeå University, Faculty of Arts, Department of culture and media studies.
    (S)exkluderande mekanismer: En studie om synen på sexualitet och könsidentitet utifrån hälsa, trygghet och våld2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    I uppsatsen har jag utifrån intervjuer som är gjorda med UmeBrås samarbetsparter beskrivit och problematiserat vad mina informanter har sagt om frågor som handlar om sexualitet och könsidentitet. Jag har visat att även om det tycks finnas relativt goda baskunskaper om ämnet och flera var medvetna om situationen för HBTQ-ungdomar så blir det lätt så att informanterna ändå belyser problemet på ett sätt som gör att HBTQ-ungdomar görs avvikande – de som behöver hjälp. Även om många av mina informanter möter ungdomar dagligen så är det många av dem som i vissa lägen inte ser hur de själva upprätthåller en heterosexuell norm och inte lägger problemet på en strukturell nivå eller på en normnivå utan på individnivå. Samma risk uppstår när de faktiskt gör sådana problematiseringar. Ett av mina exempel gällde hur informanterna förklarade våld i allmänhet med en problematisk maskulinitet. När de lyfter fram maskulinitet som en orsak till våld hade de flesta ett konstruktivistiskt perspektiv på att maskulinitet kan förändras. Men det var få som satte konstruktionen av maskulinitet i relation till heteronormativitet. Med hjälp av begreppet ”heterosexuell matris” blir det dock tydligt att dessa normer hänger ihop, och att maskulinitet inte bara är problematisk för att den kan leda till fysiskt våld. Maskulinitet så som den formats i vårt samhälle bidrar också till heteronormativitet. Insatser som baserar sig på individtänkande med ledord som acceptans och tolerans gör att man säkert kommer att kunna hjälpa enskilda individer, men riskerar att i det stora hela inte kommer att komma längre. Det riskerar att reproducera vad som är norm och vad som är avvikelse. Min förhoppning med denna uppsats är att de som jobbar med ungdomar kan se att det kan finnas andra sätt att arbeta så att inte själva arbetet gör att HBTQ-ungdomar känner sig som de som frångår normen och är annorlunda och det onormala.

  • 38.
    Fridlund, Linda
    Umeå University, Faculty of Arts, Department of culture and media studies.
    ”Det hör till vårt jobb!”: Utvärdering av Länsdelegationen i jämställdhet, Länsstyrelsen Västerbotten2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet är att ur ett kulturanalytiskt perspektiv beskriva och analysera Länsdelegationen i jämställdhet. Början av uppsatsen kan ses som ett bakgrundskapitel. Detta för att förstå uppkomsten av undersökningen. Där förklaras kort den svenska jämställdhetspolitiken, hur det strategiska arbetet sker genom jämställdhetsintegrering och Länsstyrelsens roll och arbete kring Länsdelegationen. Vidare behandlas hur delegationen arbetar med den avsiktsförklaring de tagit fram och hur de förhåller sig till den. Men också på hur delegaterna faktiskt ser på sitt deltagande, hur de arbetar med att införliva jämställdhetspolitiken i praktiken samt de svårigheter och möjligheter som kommer med arbetet i delegationen. Vidare diskuteras hur delegaterna ser på framtiden med sin medverkan och delegationens varande. Senare görs en kort jämförelse med hur förändringen gestaltat sig sedan delegationens start år 1997. Detta med hjälp av de två tidigare utvärderingarna från år 2000 och år 2006. I den avslutande diskussionen knyts uppsatsen ihop genom att besvara syftet med utvärderingen: att söka svar på hur delegationen arbetar och verkar med jämställdhetsarbetet.

    Till undersökningen valde jag att arbeta med två olika insamlingsmetoder, dels en webbenkät som gått ut till samtliga delegater i Länsdelegationen i jämställdhet, dels tre intervjuer med några av delegaterna. Jag har även studerat den avsiktsförklaring som togs fram för år 2014-2016 för att få kunskap om vad delegationen ska förhålla sig till. Jag har också använt två tidigare utvärderingar som gjorts av Länsdelegationen i jämställdhet samt den debattartikel som delegationen publicerade inför 2014 års nationella genusforskarkonferens, g14 som var förlagd till Umeå universitet.

    Slutsatserna i undersökningen är att Länsdelegationen främst verkar som en symbolisk faktor och många talar och skriver om att de vill bli en mer arbetande grupp och agera utåt och bidra till att Västerbotten ska bli ett jämställt län. Men det stannar av där, det blir tillsynes kanske inte mer än vackra ord i handlingsplanerna.

  • 39.
    Gelfgren, Stefan
    Umeå University, Faculty of Arts, Humlab.
    Humlab vid Umeå universitet2016In: Nordicom Information, ISSN 0349-5949, Vol. 38, no 3, 71-71 p.Article in journal (Other (popular science, discussion, etc.))
  • 40.
    Granberg, Moa
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Resan till Kilimanjaro2016Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Ingalill är en 52-årig surtant med stora drömmar som aldrig blev av. Istället för

    att säga vad hon egentligen tycker ler Ingalill sitt artiga leende – ett leende

    som snarare är en grimas – och dammtorkar hela huset. Hon skulle gärna

    våttorka men man kan faktiskt bara våttorka en gång per dag, annars far

    trälisterna illa.

    Hennes pedantiska perfektionism utmanas av maken Ture, en skämtare som

    ingen tycker är rolig vars humor har en tendens att gå ut över Ingalill, och

    sonen Simon, som spränger miniatyrmodeller i sitt rum i drömmen om att bli

    monsterregissör.

    Tillsammans med sin alzheimerssjuke far drömmer sig Ingalill bort, men vet

    samtidigt att resorna de planerar aldrig kommer bli av. När fadern plötsligt dör

    får Ingalill nog av livets vardag och gräver efter urnsättningen upp faderns urna

    ur graven och sticker. Hon ska bestiga Kilimanjaro, med urnan, om det så blir

    det sista hon gör!

    Ingalill ger sig av på en strapatsrik resa full av lejon och ökenstormar,

    amerikanska tjuvjägare och djungelstammar. Efter henne jagar Ture, som vill ha

    hem henne samtidigt som han försöker hitta på en förklaring till varför hon

    stack som inte inbegriper att han blivit lämnad. Med Ture följer Simon som vill

    ha tillbaka ett minneskort Ingalill av misstag förväxlat och efter honom det

    gäng med finska brottslingar som minneskortet egentligen tillhör.

    Allt leder upp till en sammandrabbning på Kilimanjaro, där Ingalill både

    uppfyller sin livslånga dröm men även lär känna och hittar tillbaka till sin familj.

  • 41.
    Haake, Ragnar
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Prövningar2011In: Glänta, ISSN 1104-5205, no 3-4, 77-84 p.Article in journal (Other academic)
  • 42.
    Hallbäck, Filip
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Cecilias dröm2016Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    The plot is similar to Lasse Hallström’s Chocolat (2000). However, there are some differences: my story is about an outsider who start a vegan cafe in a village famous for its slaughterhouse. The time frame for this story is the month of December 2012.

    In the beginning, we take part in a conversation in a cafe in a fictive town in Sweden called Korpköping, between friends Cecilia and Veronica, who tells how they will celebrate Christmas and New Year. The 35-year-old Cecilia Björk is a single mother (who is also the widow) who has a childhood dream: she has always wanted to pursue a vegan cafe. She sees an opportunity to do that when she returns to her home village (called Little Garvet), along with his 14-year-old son Joakim. Her aunt Solveig must go on rehabilitation for a long time and therefore have no time for taking care of her cafe. Cecilia takes over temporary. There and then she sees the chance to make her dream come true.

    The following question is: how will Cecilia make an impact for her idea? The answer is: she will make first vegan Christmas dinner during Christmas Eve. To achieve this, we accompany her, where she spreads her message through all from cooking classes to lectures. She obtains inclusive a mascot in the form of a pig (for which she had stolen from the slaughterhouse). Is the whole process as trouble-free? No, of course not. Solveig's coffee shop is on the same street opposite the butcher (who is also the widower) Roines meat shop. His daughter Emmy will be interested Joakim and therefore helps Cecilia to reach his dream. Roine criticize Cecilia in a bantering way, because he believes that she destroys the village's traditions. He tries to compete Cecilia, but does not succeed. Therefore, he raises his bet and try to take back the pig and claim that it is his.

    When she is about to put his dream on the shelf - several people helping her along by Christmas. However, Roine takes pig to the slaughterhouse to kill it, but ... he cannot. His conscience rub and choose instead to give the pig to Cecilia. She invites him to Christmas dinner and he was grateful to finish well and will. Cecilia's dream is thus fulfilled. In the New Year, Cecilia comes home to Korpköping and is meeting Veronica again.

    And Cecilia tells of how her dream came true.

  • 43.
    Hammarberg Mossberg, Cecilia
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Å som i Ålidhem: Identifikation med ett miljonprogramsområde2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The main purpose of this degree thesis is to, through memories, describe and analyze the identification with Ålidhem, a ‘Million Homes Programme’ in Umeå, Sweden, by adolescents living there mainly during the 1990’s. This by asking how young Ålidhem residents managed the definition coming from the surrounding society of how and what an Ålidhem’er is. How mutual we are in our fellowship and how the identity of a Ålidhem’er is constructed are also questions asked. I based my materials upon nine interviews, all of the informants former and one still present residents of Ålidhem.

    I grew up in Ålidhem and my identity as an ålidhem’er is very strong. It fascinates me how one can connect ones identity so strong to a community, something I know other ålidhem’ers do as well, not only I. This is a reason why I wrote about this in my degree thesis and also a reason for you as a reader to be aware of the fact that I am not only the writer but also an informant.

    Both the residents themselves and the society defined the area as a ghetto/hood and hand in hand with this came also the definition of the ålidhem’er as a gangster, someone to be afraid of. A definition which some took to oneself, someone tried to take in and that some took distance from, but yet a definition of the ålidhem’er, a definition that was never questioned.

         The identity is a process and not static. There are two ways to "test" an identity. The first is to play. All participants in the play know the identity is only something temporary. In the second way, through the game, the identity is tested against the community. If it is met with no questioning and being accepted, it is also an identity that can ‘become’ one's identity. To test different identities is nothing unusual but in the case of the ålidhem’er as "dangerous", the dangerousness is an ascribed feature that only works if both the society and I believe in it.

         The fellowship among the ones who define themselves as a ålidhem’er is something that defines the core of the community. Ålidhem is not homogenous regarding neither class nor origin, but instead of creating a divided society it creates a fellowship, a fellowship which might be something in common with other Million Homes Programmes.

  • 44.
    Hansson, Heidi
    Umeå University, Faculty of Arts, Department of language studies.
    Skrivutveckling och kritiskt tänkande2011In: Det goda lärandet: En antologi om liberal arts education / [ed] Anders Burman och Patrik Mehrens, Lund: Studentlitteratur, 2011, 99-115 p.Chapter in book (Other academic)
  • 45.
    Hansson, Johan
    Umeå University, Faculty of Arts, Department of historical, philosophical and religious studies.
    Educational Activities at the Sami Folk High School 1942-19822015In: Creative Education, ISSN 2151-4755, E-ISSN 2151-4771, Vol. 6, no 9, 880-897 p.Article in journal (Refereed)
    Abstract [en]

    The Sami folk high school started in 1942 as a school for young Sami that needed more education that the Swedish folk school or nomadic school offered its pupils. The school was managed by the Swedish mission society, an organization within the Swedish church. The school was successful but struggled with financial problems. The result was that a foundation with Sami representation managed the school instead after 1972. The following year was even more successful. The number of students increased, and the management could offer more courses and their curriculum had more Sami elements than earlier. However, there was also some conflicts during the 1970s. The largest one being the language boycott addressing the issue of Sami languages at the Sami folk high school as a subject in the school, and as an important part of the Sami culture and identity. This article describes the education of the Sami folk high school’s first 40 years with the help of a model for Sami pedagogy developed by Keskitalo and Määttä. The model shows that the education is to a large extent affected by outer factors—self determination, as well as inner factors—language issues and the curriculum.

  • 46.
    Hedlund, Michael
    Umeå University, Faculty of Arts, Department of culture and media studies.
    N.N: en komedi i tre akter2016Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Tänk dig att du har ett stort problem: ingen kan komma ihåg dig.

    Tänk dig nu att du dessutom har ett ännu större problem: du är kär…och en socialt hopplös fegis.

    Niklas Nordström är så obetydlig och beige för sin omvärld att han skulle smälta in i

    medaljongtapeter. Hans kärleksliv är obefintligt och hans jobb är själadödande. Kan det blir värre?

    Jajamen! Precis när Niklas börjar se ljuset så tar hans liv en oväntad vändning. Det börjar med att

    han träffar den snabbkäftad bloggaren Maria Adtzersdotter, som han blir kär i. I sant Niklas-manér

    gör han naturligtvis ingenting åt det, utan snarare flyr från det sociala. När han sedan sitter ensam

    på julafton drabbas han av en förbannelse. En förbannelse som innebär att han inte längre kan bli

    ihågkommen av folk. Så fort de inte kan se honom längre så minns de inte längre vem han är eller

    vad han gjort. Här börjar Niklas kamp för att återgå till det normala och bryta förbannelsen. Med

    Marias hjälp utforskar han exakt hur långt han kan gå utan att bli ihågkommen.

    Maria i sin tur driver elakartade kampanjer mot andra bloggare, och är den där bloggaren som alla

    älskar att hata. När hon gör sig ovän med sin bästa vän sen barndomen börjar hon ifrågasätta hur

    vettig hennes karriär är. Maria är rapp i käften och Niklas totala motsats på många sätt. Hon

    försöker lära Niklas hur han ska försöka bryta förbannelsen och hur han ska hitta sitt mod. Hon är

    en färgstark mentor som inte är rädd för att säga exakt vad hon tycker.

    MARIA Tack. Finns det någon slags jävla volymkontroll på dig eller är “skränpunk” den enda volymen du har?

    Min ambition med N.N är att skapa en udda drama-komedi om att hitta den stora kärleken. Jag vill att fantasi ska möta verkligheten, och tillsammans bilda en trolsk kärleksfull drama-komedi.

  • 47.
    Heith, Anne
    Umeå University, Faculty of Arts, Comparative Literature and Scandinavian Languages. litteraturvetenskap.
    Jenny Fossum Grönn ed., Nordic Voices. Literature from the Nordic Countries2007In: Journal of Northern Studies, ISSN 1654-5915, Vol. 1, no 1-2, 163-166 p.Article, book review (Refereed)
  • 48. Heitmann, Annegret
    Jonas Harvard & Peter Stadius (eds.), Communicating the North. Media Structures and Images in the Making of the Nordic Region, Farnham: Ashgate 2013, ISBN 9781409449485, 364 S.2015In: Journal of Northern Studies, ISSN 1654-5915, Vol. 9, no 1, 129-132 p.Article, book review (Other academic)
  • 49.
    Hägglund, Alissa
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Girl and Fox: A game2016Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The year is 2118. Sixteen-year-old Holland is sent to live with her grandmother in rural Sweden after her governess dies. When a fox steals a necklace from Holland, the last thing she received from her beloved caretaker, the girl chases the thief into the forest. She learns she can communicate with animals. Nimble-Fox tells her there is something sinister lurking in the forest. Something the animals only call the Nameless One, and it has terrible plans for the people living in the village. The Nameless One has also kidnapped Nimble-Fox’s cubs to force her into doing its bidding, and steal things from the humans in the village. The fox asks for Holland’s help to save her children and stop the Nameless One. The two form an alliance and a friendship starts to grow. For Nimble-Fox’s plan to work Holland needs to perform 4 tasks. She needs to learn how to sneak and climb. Find explosives, and also memorize the layout of the ruins where the Nameless One is keeping the cubs. While she prepares to confront the Nameless One, Holland can also help both animals and townsfolk with some of their chores or problems. One of those with a problem is Gentle-Badger who asks the girl to find her missing friend Sleepy-Badger, but he is unfortunately nowhere to be found.

    Holland also finds out why she alone can understand the animals: her spark of the Elder power is brighter than in most humans. A long time ago, the Elder power was strong and every living thing had a burning spark, but when mankind started to destroy and distance itself from nature it was weakened and almost disappeared. It is only in the last few years that the animals have sensed it’s slow return, and this because the humans have finally returned to living in harmony with nature. As Holland is working on completing the last task, memorizing the ruins layout, a frenzied bear attacks her. It turns out he’s actually a wise leader of the animal community but dementia has driven him mad. Since the animals believe the only way to return to the earth is to shout out their names at the moment of death, this old bear, lost in his own mind is at risk of losing his spark forever.

    In one moment of lucidity he asks Holland to help him die. Before he’s gone he passes on old and sacred knowledge to the girl. She learns the power to help another living creatures spark to return to the earth. The bear warns her that the skill she now possesses is very dangerous. If she where to be infused with a large amount of Elder Power, she could theoretically pull the spark from creatures far away, and thus kill them. All she’d need is some sort of personal object or talisman.

    Holland returns to the village. That night she has a nightmare in which her necklace strangles her.

    The next day she realizes why the Nameless One has ordered Nimble-Fox to steal from the villages: he plans to kill them all. The duo decides to go ahead with the plan, even though Holland still doesn’t know the layout. They fear there’s no time to waste. The girl uses the skills she’s learned to get to the ruins and she starts to set the explosives while the fox rushes to find her cubs.

    The explosives go off without a hitch but the Nameless One isn’t trapped like the fox said it would. Instead he’s been gravely injured and mutilated. Nimble-Fox returns, steals the Elder power from the wounded beast, and runs away. The monster starts to shape shift into something resembling a badger. He tells Holland his story. He’s Sleepy-Badger, and he only absorbed the Elder power in the ruins because he knew a vengeful fox wanted to use its power to avenge the death of her children. That fox was Nimble-Fox, and her cubs where accidently killed by people in Holland’s village. Sleepy-Badger dies in her arms, and she guides his spark back to the earth.

    The girl now has to decide where her loyalties lie. She can join Nimble-Fox, destroy the Elder power or fight on the humans side against the fox. All the choices made in ACT II of the game then decide if the end and epilogue are sad or happy. 

  • 50.
    Indzic Dujso, Aleksandra
    Umeå University, Faculty of Arts, Department of historical, philosophical and religious studies.
    Nationella minoriteter i historieundervisningen: bilder av romer i Utbildningsradions program under perioden 1975-20132015Licentiate thesis, monograph (Other academic)
    Abstract [en]

    In 2000 when Sweden signed the Framework Convention for the Protection of National Minorities the Roma minority became one of the acknowledged national minorities in the country. It meant that the rights of the Roma mi-nority would be safeguarded and the knowledge of its history and culture would be spread. In that context, the Swedish school, with its founded as-signment of democracy, was given an important role. The education was to communicate the multicultural values of the society and to make visible the history and culture of the Roma minority.

    The school books used in teaching today do not meet these demands. The view of the Roma minority given in school books is often inadequate and simplified. The present study will therefore examine a different type of edu-cational material used in schools and teaching, The Swedish Educational Broadcasting Company‟s programs of history and social studies regarding the Roma minority. Starting in postcolonial theory as well as critical dis-course analysis the study examines how the picture of the Roma cultural and ethnic identity in the Swedish Educational Broadcasting Company‟s material has been displayed and possibly changed during the period of 1975 to 2013.

    The results show a picture of Roma which, both in form and content, con-sists of some clearly demarcated discursive categories. The obvious continui-ty of the categories gives a picture of static and invariable Roma identity. At the same time this unambiguous picture is broken both by giving the existing discourses new meaning and also adding new discourses. The complexity and nuances become more prominent and the Roma identity is integrated in common Swedish history telling. The changes in the view of Roma, given by the Swedish Educational Broadcasting Company, can mainly be explained by the change of the Swedish immigration and minority policy and, as a conse-quence of this, the change of the school‟s mission regarding knowledge communication of Sweden as a multicultural country.

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