Auswahl der wissenschaftlichen Literatur zum Thema „Tellus Tower“

This research purpose was to investigate tourist perceptions of the attractiveness of Petronas Twin towers in Kuala Lumpur, Malaysia. It was a descriptive qualitative research which informants were chosen by using Purposive Sampling technique. The techniques of data collection were observation, interview, documentation and audio recording. The data was analyzed through data reduction, data presentation and verification. The result tells that the reason of tourists visiting Petronas Twin Tower is because the attraction is one of the icons of Malaysia. Tourist perceptions of the towers are: 1) Visitors of Petronas Twin Towers are apt to come in the afternoon and evening. 2) Tourists come to enjoy the majestic view of the towers and the beautiful lamp decoration. 3) Other than that, they are also regaled by various tourist attractions around the towers. 4) At night, there is a musical colorful lighting fountain show in Suria KLCC Petronas.

Kisah mengenai menara Babel merupakan salah satu kisah yang telah banyak diceritakan dalam berbagai kalangan masyarakat. Di dalam umat Kristiani, kisah menara Babel ditulis dalam kitab Kejadian 11:1-9. Peristiwa menara Babel menceritakan bagaimana umat manusia mencari tempat di mana mereka bisa hidup bersama selamanya dan tidak tercerai berai lagi. Selain itu, pembangunan menara Babel juga bertujuan untuk memberikan tempat yang aman bagi segala musibah yang akan datang. Tetapi di atas semuanya itu, tujuan akhir manusia dan yang pada akhirya mendatangkan dosa dan murka Allah bagi manusia itu sendiri ialah keinginan manusia yang hendak menyamai dan mendatangi tempat Allah yang mereka yakini berada di langit. Kisah menara Babel menjadi obyek dalam penyusunan karya ga·ʼahʹ ini. Kata ga·ʼahʹ sendiri diambil dari bahasa Ibrani yang berarti ‘menjadi lebih tinggi’. Bentuk karya musik ga·ʼahʹ disusun dengan menggunakan media paduan suara teatrikal yang digabungkan dengan ansambel musik. Bentuk paduan suara teatrikal digunakan untuk memberikan ruang terhadap kemungkinan adanya eksplorasi dalam beberapa hal yang dapat mendukung terwujudnya suasana maupun simbolisasi yang ingin dibangun. Sedangkan bentuk instrumen ansambel digunakan sebagai media musik yang menguatkan suasana yang dibangun dari paduan suara teatrikal. Selain paduan suara teatrikal maupun ansambel musik, karya ga·ʼahʹ ini juga melibatkan beberapa hal untuk mendukung terwujudnya karya ini. Penyesuaian kostum, penataan panggung, penggunaan sound maupun lighting menjadi beberapa hal yang digunakan untuk membangun suasana yang diinginkan. Ga· ʼahʹ: Musical Expressions of the Tower of Babel in Genesis Abstract: The story of the tower of Babel is one that has been told in various circles of society. In Christians, the development of the tower of Babel is written in the book of Genesis 11: 1-9. The Tower of Babel incident tells how humankind looks for a place where they can live together forever and not be separated anymore. Besides, the construction of the Tower of Babel also aims to provide a safe place for all future calamities. But above all that, the ultimate goal of a man and what ultimately brings sin and God's wrath to the man himself is the desire of humans to emulate and come to the place of God which they believe to be in the sky. The story of the tower of Babel is the object of the preparation of this ga·ʼahʹ work. The word ga·ʼahʹ itself is taken from the Hebrew which means 'to become higher'. The form of ga·ʼahʹ musical works is composed using a theatrical choir combined with a musical ensemble. The theatrical choir form is used to provide space for the possibility of exploration in several ways that can support the realization of the atmosphere and symbolization to be built. Meanwhile, the form of the ensemble instrument is used as a musical medium that reinforces the atmosphere built from the theatrical choir. Apart from the theatrical choir and musical ensemble, this ga·ahʹ work also involves several things to support the realization of this work. Adjustment of costumes, stage arrangement, use of sound, and lighting are some of the things that are used to build the desired atmosphere.

The purpose of this study describes the use of language variations found in the novel Bumi Manusia by Pramoedya Ananta Toer. The approach used in this study is a qualitative approach and the method used is a content analysis method that aims to provide an objective picture of language variations in accordance with the data contained in the novel Bumi Manusia by Pramoedya Ananta Toer. The data used in this study are written data in the form of novel texts containing language variations in the novel Bumi Manusia by Pramoedya Ananta Toer published by Mardi Yuana Printing Graphic Printing in 2015. Based on the analysis, there are variations in language in the novel Bumi Manusia by Pramoedya Ananta Toer namely: Dutch, Japanese, Javanese and English. In the novel Bumi Manusia, Dutch is a variation of language that dominates from other languages ​​because in this novel it is told that there was a Dutchman in the Dutch East Indies. In the novel Bumi Manusia, Japanese is not very visible because Japanese is only a distraction in just one part. Javanese language can be said as a variation of language that dominates the two because in this novel tells the life of a genuine Javanese who falls in love with a Netherland. Same thing with the Javanese language in the novel Bumi Manusia, English is no less in existence with other language variations found in this novel. The significance of the study is to give useful information about the language variation and useful contribution for linguistic and education

Purpose Evidence in the UK tells us that risky drinking is high amongst those in contact with the criminal justice system. The purpose of this paper is to explore the reasons why carrying out research around risky drinking in this setting is so difficult. Design/methodology/approach A commentary on the issues of carrying out research in the criminal justice setting. Findings There are issues of carrying out research in the criminal justice setting. The authors argue, that as academics we can be more proactive in working with practitioners in the design and carrying out of studies. By examining what the primary outcome of interest is to those that work in the field rather than what funding agencies tell us academics must use, academics may engage in a more co-productive way that enables everyone to achieve what they need. Moreover more work is needed to show how this approach can be achieved both in the UK and internationally. Originality/value This editorial explores some of the difficulties of carrying out alcohol research in the criminal justice system and postulates ways that this could be made easier.

The world’s increasing feminist activism has grown gender studies, both in real life and literature. Gender studies in several universities in Indonesia provide a lot of essential information about women’s position that are constructed to be marginal and unfortunate in social life. Critical feminist literature has improved better along with the women’s awareness of their rights that are robbed by patriarchy, which is created to marginalize them. Apparently their have important role and contribution in improving life quality.‘Cerita dari Blora’ (A story from Blora), written by Pramudya Ananta Toer, tells stories about women in Blora, Central Java. Economic, social, political, and cultural disorder in the country has increased the abuse of women as reflected in the dry and infertile land of Blora. There is no hope for the people who are humbled by the harsh and complicated life. Several female protagonists in the story are described to suffer in the patriarchal system that dominates the ideology of Blora community. There is only one strong woman in the story, called ‘Ibu’ (mother) who changes and lifts women’s status. The women’s fight will be continued by mothers for the blossoming of the next generation.Key words: feminism, gender, patriarchy, women

RÉSUMÉ. Cet article rapporte les résultats d’analyse de la version française du roman « Perburuan » de Pramoedya Ananta Toer, intitulé « Le Fugitif » au point de vue de l’idéologie. Afin de trouver les idéologies dans ce roman, nous utilisons la théorie de l’hégémonie de Gramsci (cité dans Adamson, 1980 ; Femia, 1987 ; et Simon, 2001). Cette étude est effectuée pour répondre à des questions : comment le traducteur traduit-il les idéologies de ce roman ? Et existe-il des différences de sens dans l’idéologie de l’auteur dans la traduction de ce roman ? Cette étude est fondée sur une analyse qualitative en prenant les phrases contenant les idéologies basées sur la théorie de l’hégémonie de Gramsci comme l’une des références pour analyser le roman traduit, à savoir « Le Fugitif ». Nous supposons que, en utilisant la théorie de l'hégémonie de Gramsci, nous avons deux idéologies telles que l'humanisme et le nationalisme. Mots-clés : Traduction, Langue, Roman, et Théorie de l’Hégémonie de Gramsci.ABSTRACT. This paper reports the results of analysis of the French version of the novel « Perburuan » by Pramoedya Ananta Toer, entitled « Le Fugitif » from the point of view of ideology. In order to find the ideologies in this novel, we use the Gramsci’s theory of hegemony (in Adamson, 1980 ; Femia, 1987 ; Simon, 2001). This study is conducted to answer the questions: how does the translator translate the ideologies of this novel? And are there differences of meaning in the author's ideology in the translation of this novel? This study is based on a qualitative analysis by taking the sentences containing the ideologies based on Gramsci's hegemony theory as one of the references to analyze the translated novel, namely « Le Fugitif ». It was assumed that by using the Gramsci's hegemony theory, we have two ideologies such as humanism and nationalism. Keywords: Translation, Language, Novel, et Gramsci’s Hegemony Theory

ELIZABETH GASKELL'S WIVES AND DAUGHTERS, often considered her finest and most psychologically complex novel, tells its story through narrative indirection–what Gaskell's heroine Molly Gibson identifies in a conversation late in the novel as telling a story with a “mental squint; the surest way to spoil a narration” (623; ch. 58). In this conversation, Molly is conscious of her audience–her admiring and encouraging aunts and her less admiring and less encouraging stepmother. Like Gaskell, Molly is conscious of the presence of a “critical listening.” Thus Molly selects which details of her visit to the Towers, the manor of the largest landowners in her town, she will relate. In examining the use of details, of particulars, in Victorian and Modernist poetry, Carol Christ makes clear that what is at stake is “not whether literature should contain detail but what the significance of the detail should be, and consequently what the criteria for its selection are” (4). Gaskell's realist domestic fiction delights in detail. Yet Gaskell has been taken to task by such critics as Virginia Woolf for an incidental and excessive use of detail, detail that for Woolf represents the mid-Victorian novelist's inability to select what is important in rendering reality. The aesthetic problem with detail, Naomi Schor explains, lies in the way that detail subverts internal hierarchic ordering by blurring the lines between the foreground and the background, the principle and the incidental (20–21). Schor's explanation of this internal subversion is useful for opening up Gaskell's use of detail in Wives and Daughters.

<p>Mange i dag t&aelig;nker umiddelbart, at mundtlig fort&aelig;lling af traditionelle sagn og eventyr mest h&oslash;rer fortiden til. Men inden for de sidste &aring;rtier er der opst&aring;et en ny interesse for mundtlig historiefort&aelig;lling i Danmark. De nye fort&aelig;llere beretter traditionelle sagn og eventyr, men ogs&aring; historier de selv har oplevet eller fundet p&aring;, eller historier fra sk&oslash;nlitter&aelig;re v&aelig;rker. Man f&aring;r indtryk af, at historiefort&aelig;lling stadig har en forbindelse til fortiden. De st&oslash;rste fort&aelig;llefestivaler finder sted i historiske omgivelser p&aring; museer, og nutidens historiefort&aelig;llere henviser ofte til fort&aelig;lletraditionens lange historie, n&aring;r de taler og skriver om historiefort&aelig;lling.Hidtil har den nye interesse for historiefort&aelig;lling ikke v&aelig;ret genstand for forskning, men artiklen freml&aelig;gger et studie af historiefort&aelig;lleres syn p&aring; fort&aelig;lling og fortid. Fokus er, hvilke betydninger begreberne nostalgi og autenticitet har for fort&aelig;llerne. Artiklen bygger prim&aelig;rt p&aring; interviews med historiefort&aelig;llere. Fort&aelig;llerne blev blandt andet bedt om at beskrive, hvordan de umiddelbart forestillede sig, at historiefort&aelig;lling fandt sted i fortiden. Det er et positivt billede af fortiden, der toner frem, og fort&aelig;llerne bruger billederne af fortiden som afs&aelig;t til at kritisere tr&aelig;k af den moderne levem&aring;de. De kritiserer medierne og de elektriske apparater for at g&oslash;re mennesker passive og &oslash;del&aelig;gge deres n&aelig;rv&aelig;r med andre levende mennesker. Ved at genoptage - hvad fort&aelig;llerne opfatter som - en &aelig;ldgammel og udd&oslash;d tradition, &oslash;nsker de at skabe nogle oplevelser, som det moderne menneske savner i vore dages samfund. For fort&aelig;llerne danner fortiden et idealiseret modbillede til nutiden og rummer dermed mulighed for, at fort&aelig;llerne kan tale om deres idealer og h&aring;b for historiefort&aelig;lling.</p><p>Changing the Present through the Past - Oral Story-Telling in Denmark</p><p>Today, many people spontaneously think that oral transmission of traditional legends and fairy tales are a thing of the past. But in the last few decades a new interest has arisen in Denmark in oral story-telling. The new story-tellers relatetraditional legends and fairy tales, but also adventures that they themselves have experienced or invented, or stories from works of fiction. One has the impressionthat story-telling still has a link to the past. The major story-telling festivalstake place in historical surroundings in museums, and present-day story-tellers frequently point to the long history of the story-telling tradition when they speakor write about story-telling.So far, the new interest in story-telling has not been a subject for research, but the present article presents a study of the view of the story-tellers on story-telling and the past. Focus is on which meanings the concepts of nostalgia and authenticityhave for the story-tellers.The article is primarily based on interviews with story-tellers. They were interalia asked to describe how they would spontaneously imagine that story-telling took place in the past. It is a positive picture of the past that emerges, and the story-tellers use images of the past as a platform from which to criticize modernways of life. They criticize the media and electronic gadgets for making people passive and spoiling their being together with other living human beings. By reviving - what the storytellers see as - an ancient and extinct tradition, they wish to create experiences that modern man misses in present-day society. For the story-tellers, the past presents an idealized contrast to the present and thus contains a possibility for the story-tellers to expand about their ideals and hopes for story-telling.</p><p>&nbsp;</p>

Earth observation data can help us understand and address some of the grand challenges and threats facing us today as a species and as a planet, for example climate change and its impacts and sustainable use of the Earth’s resources. However, in order to have confidence in earth observation data, measurements made at the surface of the Earth, with the intention of providing verification or validation of satellite-mounted sensor measurements, should be trustworthy and at least of the same high quality as those taken with the satellite sensors themselves. Metrology tells us that in order to be trustworthy, measurements should include an unbroken chain of SI-traceable calibrations and comparisons and full uncertainty budgets for each of the in situ sensors. Until now, this has not been the case for most satellite validation measurements. Therefore, within this context, the European Space Agency (ESA) funded a series of Fiducial Reference Measurements (FRM) projects targeting the validation of satellite data products of the atmosphere, land, and ocean, and setting the framework, standards, and protocols for future satellite validation efforts. The FRM4SOC project was structured to provide this support for evaluating and improving the state of the art in ocean colour radiometry (OCR) and satellite ocean colour validation through a series of comparisons under the auspices of the Committee on Earth Observation Satellites (CEOS). This followed the recommendations from the International Ocean Colour Coordinating Group’s white paper and supports the CEOS ocean colour virtual constellation. The main objective was to establish and maintain SI traceable ground-based FRM for satellite ocean colour and thus make a fundamental contribution to the European system for monitoring the Earth (Copernicus). This paper outlines the FRM4SOC project structure, objectives and methodology and highlights the main results and achievements of the project: (1) An international SI-traceable comparison of irradiance and radiance sources used for OCR calibration that set measurement, calibration and uncertainty estimation protocols and indicated good agreement between the participating calibration laboratories from around the world; (2) An international SI-traceable laboratory and outdoor comparison of radiometers used for satellite ocean colour validation that set OCR calibration and comparison protocols; (3) A major review and update to the protocols for taking irradiance and radiance field measurements for satellite ocean colour validation, with particular focus on aspects of data acquisition and processing that must be considered in the estimation of measurement uncertainty and guidelines for good practice; (4) A technical comparison of the main radiometers used globally for satellite ocean colour validation bringing radiometer manufacturers together around the same table for the first time to discuss instrument characterisation and its documentation, as needed for measurement uncertainty estimation; (5) Two major international side-by-side field intercomparisons of multiple ocean colour radiometers, one on the Atlantic Meridional Transect (AMT) oceanographic cruise, and the other on the Acqua Alta oceanographic tower in the Gulf of Venice; (6) Impact and promotion of FRM within the ocean colour community, including a scientific road map for the FRM-based future of satellite ocean colour validation and vicarious calibration (based on the findings of the FRM4SOC project, the consensus from two major international FRM4SOC workshops and previous literature, including the IOCCG white paper on in situ ocean colour radiometry).

SummaryMillennia-old experience with application of tea extracts as an external treatment prove beneficial in the treatment of inflammatory lesions of various origins, in particular but also in the context of venous disorders. The legends that abound in the discovery of tea are innumerable. One tells of how a coincidence the Chinese Emperor Shen Nung (2737 BC), who took great care to ensure cleanliness and cooked for this reason his drinking water, the tea flavour brought: A gust of wind blew some tea leaves into the kettle with boiling water, this golden colored it and gave him a pleasant aroma. The emperor tasted the drink and felt refreshed. Tea was then the drink in the „Middle Kingdom“, just as long – but probably even longer – it is used there as a remedy. Later in the Tang Dynasty (618–907 AD) tea was discovered as a commodity, and it developed into a vibrant China's tea trade with its neighbors, this time the tea was probably also brought about by land to Europe. A wide distribution in the population took place in Europe but only after the first tea transport from Japan to Amsterdam with sailboats in 1610. The application of (herbal) tea extracts in the context of compresses for the treatment of skin diseases was embedded in the population in Europe but much earlier. So this is described in the books of Hildegard von Bingen (*1098; † September 17, 1179). Nowadays, the application of black tea extract in the topical treatment of inflammatory and infectious diseases in traditional medicine is widespread and established in dermatology, paediatrics, combustion medicine, radiotherapy, gynaecology and allergology.The beneficial in the treatment of inflammatory lesions applies also to skin affections in the context of venous disorders. This could be demonstrated here in a not placebo controlled, non-randomized study: The treatment of 40 patients with inflammatory skin changes at the lower legs, mostly in the context of venous disorders, with black tea compresses started on the first day of patient contact and was always carried out in addition to a causal treatment of the underlying disease. In no case there was a worsening of the findings. In all cases a fast decay of redness, oozing, erosion, itching, pain, tenderness and edema within 2 to 3 days was observed after initiation of treatment.An analysis of the evidence for the mechanisms of action by review of the extensive literature shows that well-founded knowledge on anti-inflammatory, antimicrobial, analgesic, anticancer, differentiation-promoting and antiaging properties is available. A detailed description of the pathophysiologic findings on the various effects is thus given. Conclusion: The good tolerability of this treatment combined with good effect, especially in combination with other therapies and the experience of probably millions of people for many centuries is a recommendation to apply this treatment more frequently, particularly as an adjunctive treatment of inflammatory lesions. The findings on the protective effects against chemical, physical and microbial aggressions mean that tea extracts can be potent agents in the prevention of skin diseases in the context of chemical loads in the (working) life, of natural and unnatural radiation exposure and in people with a tendency for inflammatory skin diseases such as eczema appear to seborrheic dermatitis, psoriasis or vitiligo. Moreover, there is evidence that tea extracts are able to stop the skin aging process, not only, but even reverse it. All these arguments are sufficient as a reason for a more frequent use of tea and tea extracts in the treatment and prevention of skin diseases.Treatment protocol: Preparation of tea compresses: Take tea bags individually or 4 in 500 ml of water or 5 teaspoons tea leaves ~ 10 g tea leaves in 500 ml water. Bring water to boil. Pour tea leaves / tea bags with hot water and wait more than 10 (to 30) minutes, strain tea leaves, remove bags, cool tea and tea bags (e. g. in a refrigerator at 8° C). Application of tea compresses: Put cool, damp (not dripping-wet) tea bags of affected skin or for larger affectes skin areas soak ironed handkerchief or cotton cloth with cold tea and put it cool, damp (not dripping-wet) to the affected skin, e. g. wrap the affected extremity. Do not forget to put inferior to it an old towel or paper for tea stains strongly yellow-brown! Leave tea bags or tea compresses for 5 to 15 min to take effect. Repeat treatment 2–3x/day until acute symptoms are relieved or disappeared.

Denna uppsats syftar till att undersöka initiativen bakom planerna för det kommande Tellus Tower, vars planområde är beläget vid Telefonplan i Stockholm. Därutöver granskas de effekter som sedan 2000-talets början har skapat platsens kreativa miljö. Studiens frågeställningar lyder (1) Vilka är de bakomliggande orsakerna till att Telefonplan idag kan liknas vid ett kreativt rum? (2) Varför planeras Tellus Tower att anläggas just på denna plats? Till grund för arbetes empiriska material har ett kvalitativt metodsätt använts, i form av djupintervjuer. Telefonplan som lokalitet har på kort tid genomgått en gentrifieringsprocess, från ett tidigare industrikluster till att idag främst förenas av ledorden kreativitet och nyskapande. Uppsatsens teoretiska ramverk behandlar följaktligen, med överskådlig karaktär, olika typer av gentrifiering. Uppsatsen visar på att det är de sociala processerna som har förändrat rummet och hur vi idag uppfattar platsen som kreativ. Vidare kan Tellus Tower liknas vid ett tilltänkt landmärke för Stockholm och den symboliska funktion en skyskrapa innebär.

I det här examensarbetet i arkitektur analyseras en ny typ av bostäder i Stockholmsområdet: konceptboendet. Bostadstypen är skapad för en ”urban nomad”. Det är ett ord som används i marknadsföring och kan tolkas som en person som antingen reser mycket i sin yrkesverksamhet eller någon som behöver en tillfällig bostad på grund av studier eller i väntan på en lämpligare bostad. Stockholm har i dag, 2018, en stor bostadsbrist vilket skapar ett tryck på politiker att ta fram lösningar. Synen på bostaden har skiftat från att ha varit en rättighet till en lyxprodukt. Fastighetsutvecklare som Oscar Properties och Axxonen utvecklar och marknadsför premiumbostäder där hotellet är förebild och olik typer service ingår i bostadskonceptet. Det finns förändrade attityder när det gäller höga bostadshus och skyskrapor i Stockholm som ofta har lägenheter som kallas konceptboenden eller premiumbostäder. Det är viktigt att lägga märke till detta skifte i inställning eftersom det förklarar varför bostäder ser ut som de gör och vadsom driver deras design och funktion. Norra tornen vid Torsplan är exempel på premiumbostäder i höghus med inspiration från New Yorks exklusiva skyskrapor. Ett annat exempel är Tellus Towers vid telefonplan som är fylld med enrummare för unga vuxna. Där finns dramatiska utsikter och serviceanläggningar som pool och spa som säljargument. Idén om flyttkedjor motiverar byggandet av lyxlägenheter och skyskrapor i attraktiva lägen eftersom rörligheten ska göra att alla till slut kommer att få en bostad. För en förmögen målgrupp innebär rörlighet ett internationellt, hotellrumsinspirerat boende: en så kallad ”premiumbostad”. Bostadsrättsföreningen Continental Apartments erbjuder till exempel full hotellrumsservice och är dessutom beläget i de övre våningarna av Hotel Scandic Continental. För bostadslösa låginkomsttagare innebär en rörlig lösning ett boende som de kan tolerera men som i längden är otillräckligt. En tillfällig lösning som skapats på initiativ av den ideella föreningen Snabba hus är flyttbara bostäder på tidsbegränsade bygglov, avsedda för unga bostadssökande. Mellan Continental Apartments och Snabba hus finns, lite oväntat, flera likheter i hur bostäderna är planerade. Men skillnaderna är stora i användning, pris och vilka möjligheter målgrupperna har att välja sin boendesituation. Genom att jämföra renderade bilder, fotografier, ritningar och reklamtexter skildras konceptboendenas olika strategier och målgrupper. I jämförelserna av olika typer av boenden framträder en bild av en marknadsanpassad bostadsproduktion där bostaden behandlas som en livsstilsprodukt och en konsumtionsvara. Kommersialiseringen av bostäder innebär problem för de som drabbats av bostadsbristen. Lösningarna som erbjuds bostadslösa, ofta unga låginkomsttagare, är få och villkorade. Idén om att bostadsmarknaden måste få en ökad rörlighet för att fungera drabbar i stor utsträckning de som har svårast att få tillgång till en bostad genom att inskränka deras rättigheter och boendestandard. Genom att marknadsföra bostadslösningar till unga som livsstilsprodukter överskuggas det verkliga problemen med en utbredd bostadsbrist och en försenad familjebildning. Undersökningens slutsats är att marknadsföringen av konceptboenden ger en ytlig bild av bostäder och deras egentliga värde. Premiumbostädernas kvaliteter, eller brist därpå, döljs genom att erbjuda hushållsnära tjänster och inredningsdetaljer. Den ytliga inställningen till bostäder som enbart statussymboler och konsumtionsvaror gör det svårare att hävda bostaden som rättighet och som en viktig funktion för att forma samhällen. En möjlig motpol till premiumbostäderna är Stockholmshusen, ett försök från allmännyttiga bolag att skapa hyreslägenheter med hög standard men mer överkomlig hyra. Att bygga ut det allmännyttiga beståndet kan även ha en balanserande effekt på marknaden och på sikt trotsa den kommersiella bostadstrenden.
In the marketing of certain types of newly-built urban homes there is an intended target group: the “urban nomad”. A luxury hotel style dominates these pictures of future dwellings and a new aesthetic has evolved in rendered images. These types of images have become so common in architectural magazines and housing ads that they often go unnoticed. Behind the pictures is an underlying idea of ​​a flexible housing market that can create positive outcomes for the whole community. This project examines how the idea of ​​mobility in the Stockholm housing market affects the design and marketing of architecture and the possible downsides to the commercialization of urban homes.

The Author’s Effects: On Writer’s House Museums is the first book to describe how the writer’s house museum came into being as a widespread cultural phenomenon across Britain, Europe, and North America. Exploring the ways that authorship has been mythologized and materialized through the conventions of the writer’s house museum, The Author’s Effects anatomizes the how and why of the emergence, establishment, and endurance of popular notions of authorship in relation to creativity. It traces how and why the writer’s bodily remains, possessions, and spaces came to be treasured in the late eighteenth and nineteenth centuries, as a prelude to the appearance of formal writer’s house museums. It ransacks more than 100 museums and archives to tell the stories of celebrated and paradigmatic relics—Burns’ skull, Keats’ hair, Petrarch’s cat, Poe’s raven, Brontë’s bonnet, Dickinson’s dress, Shakespeare’s chair, Austen’s desk, Woolf’s spectacles, Hawthorne’s window, Freud’s mirror, Johnson’s coffee-pot, and Bulgakov’s stove, amongst many others. It investigates houses within which nineteenth-century writers mythologized themselves and their work—Thoreau’s cabin and Dumas’ tower, Scott’s Abbotsford and Irving’s Sunnyside. And it tracks literary tourists of the past to such long-celebrated literary homes as Petrarch’s Arquà, Rousseau’s Île St Pierre, and Shakespeare’s Stratford to find out what they thought and felt and did there, discovering deep continuities with the redevelopment of Shakespeare’s New Place for 2016

In After Babel, George Steiner recounts ‘two main conjectures’ in mythology which explain ‘the mystery of many tongues on which a view of translation hinges.’ One such mythic tale is the tower of Babel, which not only Steiner, but also Jacques Derrida after him, take as their starting point to approach the question of translation; the other conjecture tells of 'some awful error [which] was committed, an accidental release of linguistic chaos, in the mode of Pandora’s Box' (Steiner). This paper will take this other conjecture, the myth of Pandora, first woman of the Greek creation myth, as its point of departure, not only to offer a feminized version of the primal scattering of languages, but to rewrite in a positive light and therefore also toreverse the negative and misogynist association of Pandora with "man’s" fall. But, rather than exposing the entrenched patriarchal bias in mythographers’ interpretations of Pandora, my foremost aim is to pose, through her figure, questions about language and woman, and, by extension, the mother tongue and female sexuality.

The moment I walked into the newsroom, I could tell that something was wrong. A group of editors were huddled around the city desk, talking. The televisions were on. People didn't just look tense; they looked genuinely worried. As I walked over to my desk, I saw the image of a burning building. It was the World Trade Center. I was standing there when the second tower fell. I had the same thought that I'm sure a lot of people had: How could this be happening? But I'm also a newspaper reporter, and I realized that there was a science story to be done: Why did the towers fall? Six or seven hours later, I needed to have a finished story that answered that question. It is hard enough to successfully translate the arcane jargon of science into a story for the general reader. A ticking clock makes it that much more difficult—the words “exciting” and “terrifying” come to mind. For a science reporter, this type of breaking news situation doesn't happen very often. One of the great surprises when I moved to science writing a few years ago was that many of the news stories that appear in daily papers were not, in fact, written on deadline. I used to be in awe that someone had the ability to boil down some complex journal article on human origins or supernovas, reach all the important people, and write a clear, elegant article in a day. Many of the big journals, of course, operate on an embargo system, in which reporters are given advance copies and allowed to report ahead of time on the understanding that they won't publish a story until the journal appears in print. But there are still times when science news must be delivered on a daily deadline, either because news breaks or because you have a scoop you don't want to lose. In these cases, I think that everyone who does this for a living develops his own set of tools for coping. Success requires a ruthless attention to where you are in the process, where you are in the day, and what you still need.

All over the United States, phone companies are planting artificial trees. An old-growth, imitation pine has just gone up in the community of Franklin Lakes, New Jersey, where it towers 100 feet over barns and fields. Holes in its synthetic brown bark admit bundles of black cables that travel up through the hollow metal trunk to the wireless digital phone antennas hidden among the plastic pine branches high above. In the desert near Phoenix, Arizona, where pines are scarce, another phone company plans to conceal its antennas inside a giant, imitation saguaro cactus. Evidently some large corporations are finally beginning to realize that the destruction of nature by their business activities is not accept-able. To improve public relations, they are now providing facsimiles of the nature they eliminate. This solves many annoying problems, but, alas, other difficulties have arisen. Copying nature is not as easy as it looks—it’s not like using a photocopier. If the phone companies don’t know this, somebody ought to tell them. I first became aware of the downside of artificial nature when I was living in Middlesex, New Jersey. To get to work at the university I had to drive through South Bound Brook, a down-at-the-heels little town nestled cozily between American Cyanamid’s huge organic chemical factory on one side and GAF and Union Carbide—also cooking up organics—on the other. True, the Raritan River runs alongside of South Bound Brook, and George Washington, an experienced surveyor who had seen many rivers, once described the Raritan as the most beautiful of all. But the river’s magic seemed to work feebly in South Bound Brook; my memories are only of floods, brown mud, and the occasional corpse of carp or sucker floating belly up past the dirty red brick of the aged factory walls. Then one day as I made my daily commute, I noticed an unexpected splash of color in the town. A popular saloon along the road I travelled had erected a very large plastic palm tree on the sidewalk next to the entrance.

Universities are important, sophisticated institutions but they are not well understood even by academics themselves who are busy researching gravitational waves or the rise of populism. They may, very reasonably, find their discipline much more interesting than their institution. Instead the campus novel, from Kingsley Amis’s Lucky Jim to Malcolm Bradbury’s The History Man, David Lodge’s Brummidge, and Howard Jacobson’s Sefton Goldberg, is the main way people working in universities investigate what they are like and communicate it to the wider world. But they can’t tell the whole story. There are also academics in British universities researching universities but not many of them— most of the books about the university are American. Meanwhile crude conspiracy theories claim to explain what is happening to a complex institution. One such narrative is ‘the university is under attack from managers/ministers/ markets threatening my/your/all disciplines’. Another narrative is ‘Universities are ivory towers: there are too many of them and too many people go.’ That is why I have tried to convey what I have learnt from my university education over the past decade and assembled the evidence to explain why both of those narratives are wrong. Such is my respect for the values of academia that, even if one might suspect this is just a heavily disguised ministerial memoir, it is at least the first example which has been subject to academic peer review. The behaviour of our universities is influenced by their environment and the incentives they face. That environment is very unusual and took its modern form as a result of a series of haphazard decisions taken in the late 1950s and early 1960s. Competitive nationwide entry gives our universities exceptional power to decide who they admit. That in turn has driven an intense educational arms race in our secondary schools which in turn has led to very early subject specialization. The behaviour of schools is shaped by the competition to get into the ‘best’ universities. However, we have seen that there are different types of universities, each well adapted to a distinctive role.

<p>The moving bridges within the V&amp;A Waterfront, Cape Town, South Africa, are a recognised part of its identity and a memorable part of any visitor’s experience. One of its moving footbridges, a cable stayed swing bridge was recently replaced with a new wider swing bridge. The new 4 m wide bridge doubles the previous crossing’s capacity and improves access across the cut to the expanding Clock Tower Precinct. Moving bridges are an integration of many functional design requirements and, in the V&amp;A, important experiences and place-makers for visitors. This paper tells the story of how, from the integration of needs and opportunities, the design of the new bridge developed. The finished form is cable-stayed with a single plane of four locked coil cables connecting to the deck’ central, upstand spine beam. A reclining pylon is a continuity of the main central beam and its stiffness transfers the cable loads into the piled substructure. The superstructure rotates on a 3550 mm diameter, internally geared, three-row roller slew bearing that is driven by four hydraulic motors with a maximum output torque of 42 kNm each. Performing to the same high standards of its predecessor, the new footbridge opens and closes up to sixty times a day, carrying up to</p><p>2.4 million people per year. The need to maintain access across the cut meant it was installed and commissioned within one month of the removal of the previous bridge.</p>