The Big Crunch : A Mapping of the Swedish Party System from 1991 to 2010

Previous research claims that there has been a narrowing of distance between the Swedish political parties. Typically, such research into political distance has primarily focused on studying voters rather than the political parties themselves. In this article, the author conducts a longitudinal analysis of Comparative Manifesto Project data to determine if, and to what extent, the political parties have converged ideologically on a Left-Right continuum in the period 1991-2010. After first unraveling the concept of political distance, the author moves on to explain why the ideological dispersion of political parties is an important and consequential characteristic within party systems. Furthermore, the author argues that the Left-Right ideological scale continues to be a highly useful model with which to conceptualize and study this characteristic. The author then discusses the methodological approach and explains why quantitative manifesto data, often overlooked in favor of voter interview data, is deemed a valid and reliable material for measuring the ideological positions of political parties. The findings are that there indeed have been over all tendencies of ideological convergence between the blocs and that, in terms of how political parties are dispersed on a Left- Right ideological continuum, by 2010, the Swedish party system (the Sweden Democrats excluded) had become much less polarized than it had been in 1991.

Refraction in spacetime

Refraction, interference, and diffraction are distinguishing features of wavelike phenomena. Although they are usually associated only with a purely spatial wave-propagation pattern, analogs to interference and diffraction involving the spatio-temporal dynamics of waves in one dimension have been discussed. We complete the triplet of analogies by discussing how spatio-temporal analogs to refraction are exhibited by a quantum particle in one dimension that is scattering off a step barrier. Similarly, birefringence in spacetime occurs for a spin-1/2 particle in a magnetic field.

La thématique de l’eau dans l’œuvre de Marguerite Duras

The aim of this thematic study is to examine how the water motif is used in Marguerite Duras’s literary work. The study shows that water has multiple functions in these texts: it is linked to major themes and creates an enigmatic atmosphere by its association with the unknown, the inexplicable and the unconscious. The strong presence of water in Duras’s texts is striking. References to the water element can be found in several titles throughout her career, from early works such as Un barrage contre le Pacifique (1950) to La mer écrite (1996), published just after her death. Almost all of her fiction take place near water – and the rain or the sound of waves serve as leitmotifs in specific novels. The water motif can play a metonymic as well as a metaphoric role in the texts and it sometimes takes on human or animalistic characteristics (Chapter 4). Several emblematic Durassian characters (e.g. the beggar-woman, Anne-Marie Stretter and Lol V. Stein) have a close relationship to water (Chapter 5). The water motif is linked to many major Durassian themes, and illustrates themes with positive connotations, for example, creation, fecundity, maternity, liberty and desire, as well as themes with negative connotations such as destruction and death (Chapter 6). A close reading of three novels, La vie tranquille (1944), L’après-midi de Monsieur Andesmas (1962) and La maladie de la mort (1982), shows that the realism of the first novel is replaced by intriguing evocations of the sea and the pond in the second text, motifs which resist straightforward interpretation. The enigmatic feeling persists in the last novel, in which the sea illustrates the overall sombre mood of the story (Chapter 7). Finally, the role of the water element in psychoanalytic theory is discussed (Chapter 8), and a parallel is drawn between the Jungian concept of the mother archetype and the water motif in Duras’s texts. The suggestion is made in this last chapter that water is used to illustrate an oriental influence (Taoist or Buddhist) of some of the female characters in Duras’s work.