Flaubert's Trois Contes have long been a literary enigma before which critics have stumbled. Unlike the major novels of Flaubert, these Contes offer a more optimistic view of the world. Though each story unfolds differently, the heroes find similar salvations through metamorphosis. In some instances this has been refered to as sanctity, while in other cases, it was not deemed a powerful enough motif to link Trois Contes together. / The study at hand will strive to show, by analysing the development of their personality, how each character self-realizes and finds salvation. As we progress through the three texts, it will become apparent that a sequence was intended for the reader to follow, and that the order in which the texts were published is capital.

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The purpose of this thesis has been to define translation and to briefly consider the difficulties involved in literary translation, more specifically dealing with translation from French to English. It has also been its purpose to establish certain guidelines of translation and to exhibit both these principles and the author's skill in a translation exercise. The work selected for translation was the author's translation and those of three other demonstrate that different authors may use various translate the same story, and the end result will be similar in content and effect, although different in style.

This thesis has studied the woven of George Eliot's Middlemarch in order to demonstrate the author's concern with and understanding of the dangers inherent in lives lived in provincial surroundings with severely limited options for exercise of capabilities and fulfillment of goals. Eliot's questioning of the nineteenth century's attitudes towards women's roles has been examined by studying the imagery used to characterize the women in the novel, by analyzing the folk "wisdom" which the inhabitants of Middlemarch use to define women, by interpreting Eliot's presentation of Dorothea Brooke's attempts to escape her provincial setting, by discussing the novel's criticism of the traditional role of wife and mother.In addition, this paper has surveyed important critical studies of Middlemarch., noting various scholarly interpretations of the novel, especially of the parts played by the women characters.

This paper investigates the representations of Africans in the Swedish comic press around the time 1880-1920, with the purpose of establishing how Africans were depicted and how these representations can be explained. The sources consist of four comic magazines: Kasper, Söndags-Nisse, Strix and Naggen. Results show that images of Africans in the late 19th and early 20th century Swedish comic press highly conform to international representations. Traditional stereotypes and overall caricatures are widely applied, mediating racial difference and black subordination. The comic strips and jokes can be divided into categories, defined by their main theme: 1) Exotic animals and nature 2) Skin colour 3) The unintelligent or uncivilised savage 4) Cannibalism 5) The civilised African 6) Imperialistic overtones. The use of international stereotypes indicates that some comic strips might have been directly copied from foreign publications, and incorporated into Swedish contexts. Several theories, likely interacting, can be considered in explaining the imagery. Firstly the representations may function as construction, establishment and strengthening of Swedish identity by defining, demonstrating and stressing the codes for ‘swedishness’ and otherness. Secondly the iconography can be seen as a political strategy, a carrier of imperialistic, patriarchal agenda that confirms white supremacy. Thirdly the representations may strongly depend on convention and tradition within the genre, wherein generic models and conventional codes limited artists’ representations.

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