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The field of subtitling is certainly one of the underrated and underexplored areas in the academic world. This project intends to outline the lengthy evolution of subtitles as it was being shaped throughout the last century by experimenting with its different forms and uses. The historical perspective sheds light on the field of subtitling and looks at its functions, technology, and usages, tracing its change from the origin to its present-day form. The intention of covering the historical side of the field is to familiarize the reader with the profession and its practices before stepping into a more detailed observation, covering linguistic and semiotic elements of subtitling. As a medium of communication, it is a field that can reach countless viewers. It can be used as a tool for educating the illiterate, deaf and the hard of hearing, students of second language, enriching vocabulary, maintaining language skills for the elderly, not to mention its capability of translating information to a non-native-speaker audience for the purpose of exchanging cultural wealth.

The subject of this research project is to perform a comparative analysis of a section of the Danish media coverage in three different newspapers of the Israel/Palestine conflict, aiming to highlight an evolution or change, in the discourses used in these papers. The comparative analysis is based upon empirical material of eighteen newspaper editorials, discussing three chosen historical events, during the Israel/Palestine conflict. The historical events which the articles will represent, are the six-day war, the first intifada, and the second intifada. The reasoning behind the selection of these historical events is a necessity, for a broad perspective of the conflict, to make discursive changes more apparent. Additionally the chosen events are all substantial and well documented, and it is through these events that the change of discourse will be presented. To answer the research question thoroughly, a combination of the two distinctive theories relating the study of discourse will be used. The theories are Norman Fairclough’s ‘Critical discourse analysis’ and the ‘Discourse theory’ of Ernesto Laclau and Chantal Mouffe. Both offer an extensive look into the dynamic and complex structures of discourses, and will together provide a set of nuanced methods to complete the analysis. The overall scientific field in which these theories exist, is within the area of social constructivism which also relates to the theory of power by Michael Foucault. The analysis of the various discursive structures of the historical period in question, will focus on describing the more specific types of discourse of the different media outlets, separately and in unison, by shifting incorporations of the theories that have been presented. The precise method for this analytical procedure will be to locate and underline how certain phrases and specific usages of language are in a dynamic relationship with what they aim to represent, and how discourses in general seem to undergo striking, even insidious transformations through their use. Finally, the analysis of this paper attempts to answer the more difficult question, relating the causes behind these discursive transformations, and attributes them to the acknowledgement of discourses in general, as fundamentally transformative properties, where the use of language by its conception, is inevitably changing and dynamic in nature.

The motivation for this project was based on the newly founded movement DiEM25 (Democracy in Europe Movement 2025) and their manifesto. The movement’s ideas and visions are based on the critique of the European Union’s handling of the economic, refugee and migration crisis’, that has been debated throughout Europe in recent years. With their manifesto, DiEM25 has formulated an idealistic alternative vision for the future Europe. This assignment seeks to find answers to what kind of alternative this is. More specifically; which kind of cosmopolitanism is expressed in the manifesto, and which European concept historical traditions this cosmopolitanism builds upon. The analysis conducted in this project will be a comparative concept historian analysis of the cosmopolitan vision formulated in the DiEM25 Manifesto. The assignment concludes that the manifesto entails a potential utopian cosmopolitan vision of re-democratising Europe, and more specifically the EU in our present modern and globalised world. Furthermore, it concludes that the the cosmopolitanism in the DiEM25 Manifesto builds on a long tradition of cosmopolitan ideas, leading back to Immanuel Kant initial ideas of cosmopolitanism, through post world war and the thoughts of Ulrich Beck up until the 21st century and the notion of New Cosmopolitanism.

This thesis examines how the university directive of 2003 changed the thoughts about and the processes on RUC. The theoretical framework is mainly Actor-Network Theory, which is used to help understand the network in which the actors are battling to give the object RUC meaning. The thesis does however also include Discourse Theory by Laclau and Mouffe to locate prevailing discourses about RUC. The thesis concludes that the university directive itself did not have a major influence on decision-making on RUC during the transition under rector Henrik Toft Jensen. However with the new rector Poul Holm in 2006 the possible fears of the directive was affirmed, as it enabled rector to make decisions based on intuition rather than democratic processes. The result was a step away from democracy and a leap towards business-like management. Poul Holm lasted a little more than two years, leaving an environment of distrust behind at the university, to be sorted his successors; Henning Salling-Olesen and Ib Poulsen who it seemed managed to find the middle ground between nurturing the university democracy and satisfying the political actors. Therefore the university law in itself did not harm RUC, however the consequence thereof started the biggest crisis at RUC in recent years.

This paper is an historical sociolinguistic study of the English language primarily utilising the works of Meyerhoff (2006), Bergs (2005), and Fennell (2001) to investigate phonetic changes in English caused by the Great Vowel Shift. Our research explores the ‘Paston Letters and Papers of the Fifteenth Century, Part I’ as chronicled by Davis (1971) as a means of discovering to what extent the Great Vowel Shift had materialised in the 15th century. Prefacing our study is an historical overview spanning from the 11th century and leading up to the Late Middle English period of the 15th century, which is intended to provide the reader with a historical, linear plotting of the English language, mapping its rise to dominance in England.

This project examines F. Scott Fitzgerald’s novel The Great Gatsby and the historical, cultural, and societal periods surrounding, following its publication on April 10, 1925. Specifically, the Roaring Twenties (1920-29), the Great Depression (1929-39), and World War II (1939-45), in light of the wonder that it started out with lackluster reviews and only meager sales but later rose to international fame and popularity as the literary phenomenon we know today, all within the span of this specific generation. Applying a dualistic approach to the analysis, the project seeks to both study the literature and the culture, by introducing two different but complementing theoretical perspectives: The psychological perspective and the Marxist perspective. This is done to make sure that both the novel and its characters are analyzed from both an internal and an external perspective, to increase and to expand the understanding of Fitzgerald’s literary work and its impact on American culture and society. The project concludes that a reason the novel was not popular when it was first published is that the materialist and consumerist generation of the Roaring Twenties primarily identified with Daisy over Gatsby - and the way she chose her safety and esteem needs met with Tom Buchanan over her love needs and a life with Gatsby. Hence the perception and interpretation of a character like Jay Gatsby has changed radically through years of cultural and societal upheaval, which eventually caused the novel to finally be accepted and appreciated. In the 1920s, Gatsby was primarily seen as a critique of the lavishly spending and materialistic status quo, and people did not care much for that because of a bad social conscience, or they simply did not understand the critique. But later, in the 1940s, the American outlook had changed forever and so had their view of Gatsby, enthroning him instead as a hero, an icon and idol, and as a role model.

Through this paper, we examine the redesign process that the building of Nikolaj Church has gone through from the 1960ies, to how it appears today, as Nikolaj Kunsthal. The traces and layers have visible signs of a random design process through time. Nowadays the art centre aims for a coherent atmosphere and sense of place in an upcoming design process. Our analysis of textual data gathered from relevant documents and interviews with key stakeholders, relies on the development of a sociotechnical perspective. This perspective allows us to recognise the various agencies and networks in connection to the design process that emerge from the technical and social aspects, which are analysed. The findings emphasize the building as an actant and a network, that plays a crucial part in the design process.

Through this paper we examine the process of how an object can exist in different spatial contexts, and how these contexts have an impact on the character of the object. Our interest lies in how a specific spatial context has the power to define an object, and vice versa, i. e. how the object can produce an impact over a specific space, defining people’s interaction within that space and with the object. The main focus of analysis is a caravan, which has been part of a redesign and refurbishing of the shelter Mændenes Hjem (under the project Radical Horisontality by artist Kenneth A. Balfelt) and is currently exhibited at Statens Museum for Kunst. By exploring the transition of locations that has experienced this object we are able to define the caravan and its spatial environment – in the past and now. Further on we argue how the use of art and beautification of spatial surroundings influence the users, when at the same time we discuss the social practices and processes of contemporary art. Additionally, we challenge observations and findings through a theoretical context about the interaction with museums (art)objects. Our findings suggest that there is a distinct change of identity of the caravan according to its spatial context. This change is based on the current consideration of the caravan as an art piece, although the original intention – to create a space that promotes a unique social interaction among users/visitors -, and the use of it as such is fairly consistent.

In this project we examine the role of history in peace education in the Israeli-Palestinian context through the lens of the German historian Reinhart Koselleck. We claim that history is a non-redundant part of peace education in intractable regions, and that the contemporary interpretation of Koselleck gives us the opportunity to shed new light on history as peace education in the Israeli-Palestinian context. We present two positions which exemplifies history as peace education, namely the two ‘new historians’ Benny Morris and Ilan Pappe. We analyse the foundation of Morris and Pappe, and criticise them through a combination of the Koselleckian perspective and the critical tradition of the Israeli philosopher Ilan Gur-Ze’ev. Lastly we discuss how the Lens of Koselleck argues for a re-evaluation of history in peace education in contemporary Israel-Palestine.

This study examines how learning games can be used to increase motivation in history classes, and convey historical knowledge about different time periods of Denmark, and their transitions, for 5th grade students. Based on game theories and empirical data gathered from interviews with a 5th grade class and an education supervisor of the Danish National Museum, a game concept for a learning game has been developed as a supplement to the traditional method of teaching history. The paper concludes through extensive interviews with the target group, that students lack motiva-tion because of their history book and the traditional way of teaching history. This study furthermore concludes that by implementing game elements, which the students know and find entertaining, it is possible to increase their motivation for history lessons.