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  • 1. Skagert, Ulrica
    Högskolepedagogisk debatt: tema: akademiskt språkbruk2015Collection (editor) (Other academic)
    Abstract [sv]

    Detta nummer av Högskolepedagogisk debatt ägnas åt akademiskt språkbruk – det språk som vi lärare och forskare brukar när vi talar och skriver inom vår profession, som finns i kurslitteratur och vetenskaplig litteratur, och som studenter förväntas (lära sig att) använda. Texterna i detta nummer spänner över ett brett område och behandlar såväl hur forskare och lärare kan utveckla sitt eget språk som hur vi kan förbereda våra studenter och främja deras utveckling inom den akademiska diskursen.

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  • 2.
    Skagert, Ulrica
    Kristianstad University, Learning Resource Centre.
    Högskolepedagogisk debatt: tema: kvalitetsutvärdering av högre utbildning2014Collection (editor) (Other academic)
    Abstract [sv]

    I nuvarande temanummer kring kvalitetsutvärdering av högre utbildning har vi fokuserat på något som har varit aktuellt inom högskolevärlden under en längre tid, och som i samband med stundande riksdagsval säkert återigen kommer att bli föremål för tuff debatt. Det nationella kvalitetsutvärderingssystemet är en stor och komplex fråga och det påverkar i vilken riktning högre utbildning i Sverige rör sig. I detta nummer kommer ni att kunna läsa om en rad olika erfarenheter av utvärderingssystemet. Här finns röster från flera håll inom HKR med ett brett perspektivspektrum på temat.

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  • 3.
    Skagert, Ulrica
    Kristianstad University, Learning Resource Centre.
    Things within things: possible readings of Alice Munro’s “The Love of a Good Woman”2014In: Text analysis: culture, framework & teaching: conference proceedings from the Text Analysis Symposium at Kristianstad University, April 2014 / [ed] Jane Mattisson, Maria Bäcke, Kristianstad: Kristianstad University Press , 2014, p. 122-131Conference paper (Other academic)
    Abstract [en]

    Alice Munro’s "The Love of a Good Woman" is perhaps one of the most important stories in her œuvre in terms of how it accentuates the motivation for the Nobel Prize of Literature: "master of the contemporary short story." The story was first published in The New Yorker in December 1996, and over 70 pages long it pushes every rule of what it means to be categorised as short fiction. Early critic of the genre, Edgar Allan Poe distinguished short fiction as an extremely focused attention to plot, properly defined as that to which "no part can be displaced wit- hout ruin to the whole". Part of Munro’s art is that of stitching seemingly disparate narrative threads together and still leaving the reader with a sense of complete- ness.

    The story’s publication in The New Yorker included a subtitle that is not part of its appearing in the two-year-later collection. The subtitle, "a murder, a mystery, a romance," is interesting in how it is suggestive for possible interpretations and the story’s play with genres. In a discussion of critical readings of Munro’s story, I propose that the story’s resonation of significance lies in its daring composition of narrative threads where depths of meaning keep occurring depending on what aspects one is focusing on for the moment. Further, I suggest that a sense of completion is created in tone and paralleling of imagery. Meaning emerges in what I have called a story’s "possibility-space." This term has affinities with what others have named "sideshadowing," where rather than resisting closure, the sto- ry turns back into itself, and compels the reader to further reflect on the difficult issues of human behaviour raised in the story.

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