This Research Note explores the political dynamics of bureaucratic turnover. It argues that changes in a government’s policy objectives can shift both political screening strategies and bureaucratic selection strategies, which produces turnover of agency personnel. To buttress this conjecture, it analyzes a unique dataset tracing the careers of all agency heads in the Swedish executive bureaucracy between 1960 and 2014. It shows that, despite serving on fixed terms and with constitutionally protected decision-making powers, Swedish agency heads are considerably more likely to leave their posts following partisan shifts in government. The note concludes that, even in institutional systems seemingly designed to insulate bureaucratic expertise from political control, partisan politics can shape the composition of agency personnel.

This paper explains differences in the policy objectives and policy programs of Swedish immigrant policy as a consequence of the fact that policy objectives tend to be evaluated in public political debates whereas policy programs are evaluated through administrative reviews within government. Given contrasting contexts, different questions are important for policy legitimacy. The public debate focuses on questions of moral values, while the audit within government deals with issues of efficiency. Policy objectives and policy programs therefore respond differently to criticisms that separate rhetoric and practice. As a result, Swedish immigrant policy rhetoric and practice were from the outset only loosely joined and have failed to converge over time.

In this paper, I am analyzing Strindberg's trilogy To Damascus with regard to two basic elements—situation and character. Through this study, as well as others in kind, I hope that eventually a literary æsthetic may be evolved. The final purpose, of course, is the attainment of æsthetic judgment in literature.

There have been sporadic attempts to determine the number of situations which artists may exploit in literature, especially dramatic literature; but, so far as I know, there has been no signal effort on the part of scholars to come to grips with the subject. Apart from determining the exact number of situations, it is of importance that we come to some agreement regarding the term situation and its function in literary art. I shall attempt here to discuss: earlier efforts at definition and analysis, the nature of situation, the exact number of situations, and examples in literature.

In an exposition of the chief views of art set forth by Oswald Spengler anyone familiar with The Decline of the West will realize at once that a short paper can present only a very brief summary of the material on art scattered throughout the two volumes. Moreover, Spengler's views of art are so completely intertwined with information relative to the other activities of life that an essay may not be wholly restrictive in subject matter. Spengler makes the task doubly uninviting for the investigator by erecting a pons asinorum between himself and the would-be critic. Note, for example, the following sentence: