Doctor's experiences of work related moral problems : responsibility without clear boundaries

For as far back as the history of the medical profession can be traced, it has been assumed that doctors learn professional moral knowledge together with medical knowledge. From the sixties, internal professional morality has publicly changed to external morality, described with vocabulary and concepts, connected to philosophical branches. Although now incorporated in medical ethics teaching, it is not known how well they cover the problems of the clinical world. The main purpose of this thesis is to study doctors experiences of moral problems in their everyday working life. The most prominent schools of modern medical ethics with their assumptions regarding e.g. human nature and fact/value relations are also studied and their impact (by focusing on some issues and omitting others) on our public, shared reality is described. According to a social constructionist approach (based on ideas from Alfred Schütz, Peter Berger and Thomas Luckmann) individuals perceive, interpret and act within a social life-world where things and events in every-day life have a self-evident meaning. Within a person s lifeworld, moral life is a form of societal participation where experience is connected to moral concepts as loyalty, deception and (un-) fairness. To find a concept relevant one must have a standard (e.g. regarding social roles and other aspects of human life). Fourteen experienced doctors provide accounts of everyday work related moral problems. The interview analysis is carried out with a phenomenological method. A moral problem occurs in a situation when, according to the professional standard related to being a doctor, values discussed in the thesis are violated to such an extent that the doctors obtain an insight of an existing moral problem. What counts as relevant in each situation (what makes the context), depends on how the doctors experience features within social and institutional settings in relation to the assignment they have internalised as being theirs. For the interviewed doctors, morality is allied with the question: How shall I live my life as a responsible professional? The medical assignment with its inevitable risk of hurting fellow human beings, makes for the doctors, medicine and morality inseparably intertwined. Reflecting on the boundaries of the profession s standard, is, for the doctors, different than working in concrete, practical situations where they often find themselves forced to take responsibility for political issues. Many of the doctors problems involve social and economic aspects and cannot be discussed merely from the framework of philosophically founded medical ethics theories. The doctors experienced problems are related to their comprehension of what kind of society, what kind of human relations, and what kind of health care we desire. In discussing these issues negotiating about the contents of our value concepts non-professionals experience as well as healthcare workers praxis-bound experience are necessary elements

Hellraiser : om Clive Barkers film

In this dissertation I will discuss horror film as a genre and study how Hellraiser relates to its themes and problems. First I describe the production of the film and after that I present Clive Barker - his background, authorship, film-making and artwork. Next I study the problems of the genre and the different ways in which this genre is defined. I look at narrative characteristics as well as, for instance, how a film belonging to the genre is launched and how it is received by critics and the audience. Furthermore, I describe the response this film has had from reviewers and fans and how it is perceived in academic texts. The principal part of the dissertation follows: a comprehensive close reading of the film in which I delve into the film 21 times to describe and interpret scenes. I conduct readings based on the film's substance and form and juxtapose minor details with major developments. The themes I focus on in particular concern the film's relation to the body, gender, sexuality, family, the house, and religion. I introduce a discussion about the genre, e.g. about British versus American horror films, the conditions in which a film production takes place, the status of the genre, censorship and some thoughts about the significance of excess to the film. I have used the narrative structure and plot of Hellraiser as a starting point for the dissertation and I have let the film guide my choice of themes as much as possible. The method of my choice is founded on making the segmentation on the basis of the colloquial understanding that narratives are constituted of momentary parts. With these sequential analyses as my starting point I allow myself to deviate and delve into larger thematic areas that are collected in my summarising discussion of the dissertation. In the third part of the dissertation I thoroughly study how the Cenobites were conceived and designed and how they look and act. Furthermore, I study how they relate to archetypal monsters, such as Frankenstein's Monster and Dracula, in order to look at how Barker is playing with these monstrous characters. I also discuss the Cenobites? peculiar power of attraction at the same time as I stress that it is not necessarily self-evident to regard the Cenobites as the monsters of the film. In the final part of the dissertation I look at the film's approach to body, pain and suffering and how the boundaries occasionally are erased and pain becomes pleasure. I refer to, among other things, to how the Cenobites? appearances have similarities with the aesthetic expressions of the punk movement. Physical violence against the body, in the form of body piercings and tattoos, symbolises resistance against good taste. This form of alienation can also be seen as a characteristic of horror film as a genre and it seems as if the Cenobites only reach the satisfaction they crave through opening bodies and delve underneath the skin

The Artwork in the Age of Game Environment : A study of the game Animal Crossing: New Horizons (2020) usage of artwork and presentation of the museum as an institution

This essay focuses on the digitalization of art canonisation in the game Animal Crossing: New Horizons (Nintendo/Nintendo EPD, 2020). Furthermore, the purpose of this essay is to understand which artworks the game incorporates in its museum, as well as how the player can interact with the artworks in question. Bolter and Grusin's remediation theory are thoroughly explored through the material, as well as the maintaining of norms through representation. The conclusion is that the game allows the player to interact restrictedly with the art in the museum, but is allowed more freedom outside of it. However, the restricted interaction is strongly incorporating known norms of how to behave and interact with the museum as an institution. These norms are also applicable in situ – outside of the museum's pixelated world. The aura of the artworks is compromised through the notion that the player can obtain any number of original artworks. Still, the originality and aura of the artworks are secured through the institutionalised environment in the museum.Uppsatsen behandlar digitaliserad konsts kanonisering i spelet Animal Crossing: New Horizons (Nintendo/Nintendo EPD, 2020). Uppsatsens syften är att analysera vilka konstverk som spelet integrerar i sitt museum och hur dessa verk kategoriseras, samt hur spelaren kan interagera med konstverken. Bolter och Grusins remedieringsteorier behandlas utifrån denna frågeställning med fokus på digitalisering och konstrepresentation. Slutsatsen är att spelarens interaktion med konstverken på det digitala museet är begränsad, men att spelaren får mer frihet i spelets andra miljöer. Således följs etablerade konventioner kring hur besökaren på ett museum ska bete sig. Konstverkens aura förändras då spelaren kan inneha hur många originalverk som helst. Trots denna omdefinierade aura stärks däremot verkens originalitet av museets institutionaliserade och auktoritära presentation