Ne videt, ne znat – det direkta objektets kasus vid två negerade ryska verb

This essay examines the case of the direct object in Russian sentences with the negated verbs не видеть and не знать. For each verb, 50 contexts were downloaded from the newspaper corpus of the Russian National Corpus and analysed with respect to the semantic properties of the direct object and the negated verb. The theories and concepts used for the analysis have been outlined in Padutjeva, 2006. The analysis of не видеть suggests that the main difference between the genitive and the ac-cusative case is to be found in the notion of non-existence or absence implicated by the verb’s semantics. In utterances with не видеть as a predicate, this notion is always present and is expressed by the genitive case. The speaker may also choose to ignore it by using the accusa-tive and thus emphasize some other aspect of the described situation. The examined properties of reference, definiteness and denotative status of the direct object seem to play a secondary role for how case is used. Their influence is to delimit the meaning of the objective genitive to either non-existence or absence. No similar conclusions could be drawn from the examination of не знать. The reason for this is that the concept of private sphere, used by Padutjeva to explain the use of objective geni-tive with this verb, could not be properly established during the analysis. Just as the notion of absence is crucial for the understanding of the objective genitive when it occurs with не видеть, the concept private sphere seems to be the key to understand it when it occurs with не знать.

När kallet ställs på sin spets : Pensionering ur ett existenssociologiskt perspektiv

When the calling is brought to a head: Retirement from an existential sociology perspective In this article we analyze how the meaning and value of work can emerge, be defined and redefined in relation to the coming of retirement, by focusing individuals with dedicated work approaches interpreted as a calling. By relying on an existential sociology framework we analyze the retirement process as an existential imperative, e.g. life phases or processes where questions on meaning and life quality become prominent. For the interviewees, the day of retirement becomes a sort of a road sign that – depending on the distance of time to the point of retirement – has intensified existential questions and the meaning of work. The article explores the defining dimensions of a calling as found in the interviewees dedicated work approaches. We address the types of problems and opportunities that arise when the interviewees are soon to retire and their associated strategies: listening to a calling on ”standby”; learning not to listen to one’s calling, listening to a calling from a private sphere and project the calling’s commitment to other activities.

Filmljudets funktioner i krigsfilm : En audio-visuell analys av Apocalypse Now och Saving Private Ryan

I denna uppsats har filmljudet i krigsfilmerna Apocalypse Now och Saving Private Ryan undersökts. Detta har gjorts för att försöka bidra med ökad förståelse för filmljudets användningsområde och funktioner, främst för filmerna i fråga, men även för krigsfilm rent generellt. Filmljud i denna kontext omfattar allt det ljud som finns i film, men utesluter dock all ickediegetisk musik. Båda filmerna har undersökts genom en audio-visuell analys. En sådan analys görs genom att detaljgranska båda filmernas ljud- och bildinnehåll var för sig, för att slutligen undersöka samma filmsekvens som helhet då ljudet och bilden satts ihop igen. Den audio-visuella analysmetod som nyttjats i uppsatsen är Michel Chions metod, Masking. De 30 minuter film som analyserades placerades sedan i olika filmljudzoner, där respektive filmljudzons ljudinnehåll bland annat visade vilka främsta huvudfunktioner somfilmljudet hade i dessa filmer. Dessa funktioner är till för att bibehålla åskådarens fokus och intresse, att skapa närhet till rollkaraktärerna, samt att tillföra en hög känsla av realism och närvaro. Intentionerna med filmljudet verkade vara att flytta åskådaren in i filmens verklighet, att låta åskådaren bli ett med filmen. Att återspegla denna känsla av realism, närvaro, fokus samt intresse, visade sig också vara de intentioner som funnits redan i de båda filmernas förproduktionsstadier. Detta bevisar att de lyckats åstadkomma det de eftersträvat. Men om filmljudet använts på samma sätt eller innehar samma funktioner i krigsfilm rent genrellt går inte att säga.I have for this bachelor’s thesis examined the movie sound of the classic warfare movies Apocalypse Now and Saving Private Ryan. This is an attempt to contribute to a more profound comprehension of the appliance and importance of movie sound. In this context movie sound implies all kinds of sounds within the movies, accept from non-diegetic music. These two movies have been examined by an audio-visual analysis. It's done by auditing the sound and picture content separately, and then combined to audit the same sequence as a whole. Michel Chion, which is the founder of this analysis, calls this method Masking. The sound in this 30 minute sequence was then divided into different zones, where every zone represented a certain main function. These functions are provided to create a stronger connection to the characters, sustain the viewers interest and bring a sense of realism and presence. It seems though the intention with the movies sound is to bring the viewers to the scene in hand, and let it become their reality. To mirror this sense of realism, presence, focus and interest, proves to be the intention from an early stage of the production. This bachelor’s thesis demonstrates a success in their endeavours. Although it can’t confirm whether the movie sound have been utilized in the same manner or if they posess the same functions to warefare movies in general.