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Denna studie av alla Anna Greta Wides samlingar (även postuma) undersöker relationen mellan människa och natur i hennes dikter. Utifrån begreppen antropocentrism, ekocentrism och biocentrism undersöks dem och genom ett flertal olika teman - bland annat religionen, platsen, odödligheten/dödligheten samt besjälning och dehumanisering - presenteras flera olika resultat. Sammanfattningsvis påpekas komplexiteten i dikternas gestaltning av relationen mellan människan och den natur som omringar henne, och en förståelse angående den annalkande miljöproblematiken tilldelas poeten.

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Ce mémoire est une contribution à l'étude de la position des intellectuels critiques en Union Soviétique depuis ses débuts jusqu'aux années 1960. De ce point de vue, nous examinons la vie et l'oeuvre d'Anna Akhmatova (1889-1966), un grand poète du XX-ème siècle. Nous cherchons d'abord à préciser les liens d'Akhmatova avec certaines tendances intellectuelles russes des époques précédentes, et surtout avec la tradition pouchkinovienne dont elle s'estimait être l'héritière directe, et ce non seulement sur le plan littéraire, mais également quant à la place et au rôle du poète dans la société. En deuxième lieu, nous analysons comment Akhmatova, placée dans le contexte politique de l'époque soviétique, a interprété et développé cette tradition intellectuelle. / Québec Université Laval, Bibliothèque 2013

Syfte med uppsatsen har varit att undersöka färgens och gestikens påverkan på altarskåpets iscensättning av berättelserna och därmed även budskapet. Uppsatsen har ett bildsemiotiskt perspektiv som en utgångspunkt. Materialet för undersökningen är ett flandriskt altarskåp från Skånela kyrka som finns idag i Uppsala domkyrka. Skåpet är tillägnat Joakim och Sankta Anna. Undersökningen har avgränsats till att enbart analysera de sex skulpterade scenerna i korpusen. Analyserna har utförts genom en formell beskrivning och diskussion med hjälp av Lena Liepes lågikonografiska analys och med Norbert Ottos trestegsmetod för gestfunktioner. Lena Liepes metod och teori används som underlag för undersökningen. Undersökningen ansluter till Virginia Nixons forskningsarbete om Jesu mormor i kyrkokonsten. Det har konstaterats att färg- och gestikanalyserna möjliggör en nyanserad tolkning. Undersökningen har visat att färgen och gestiken är ett påverkningsmedel i syfte att leda betraktaren mot ett dolt budskap i bilden. Och att det finns en koppling mellan Skånelaskåpets budskap och den medeltida kvinnofientlighet som var rådande då. Annaskåpet innehåller budskap som präglas av den dåvarande barn- och kvinnosyner. / Purpose of this essay has been to examine the color's and gesticulation's impact on the altarpiece staging of the stories and thus the message. The essay has a semiotic perspective as a starting point. The material for the study is a flemish altarpiece from Skånela church that exists today in Uppsala Cathedral. The altarpiece is dedicated to Joachim and St. Anne. The study has been limited to only analyze the six sculptured scenes in the corpus. The analyzes have been performed through a formal description and discussion by Lena Liepes low iconographycal analysis and with Norbert Otto's three-step approach for gesture features. Lena Liepe's method and theory was used as a basis for the investigation. The study connects to Virginia Nixon's research on Jesus' grandmother in church art. It was found that the color and gesticulation analyzes enables a nuanced interpretation. The investigation has shown that the color and gestures are an actuation in order to lead the viewer towards a hidden message in the picture. And that there is a link between Skånela altarpiece's messages and the medieval misogyny that prevailed then. Anne-altarpiece contains messages that are characterized by the contemporary child and female visions.

Through a diplomatic transcription and contextualisation of two poems from Geistliche und Weltliche Poemata (1650) by Anna Ovena Hoyer (1584-1655) it is suggested that two contexts are highly relevant and fruitful for understanding the polemical nature of the Early Modern Era. The two examined contexts are anti-clericalism  ̶  the negative stance towards Lutheran clergymen  ̶  and the conditions for writing as a female in Early Modern times. By offering comments and providing information regarding these two contexts, it is demonstrated how they successfully explain and motivate how a lay uneducated poetess develops rhetorical strategies to express radical criticism of the discourse of Lutheran clergymen. Notably, the authors of the two poems, Werdenhagen and Hoyer, legitimise a morally superior poetess by constructing a feminine authority derived analogously from the story of Martha and Mariam in the Bible. Furthermore, Hoyer uses this claim of being a mouthpiece for godly wisdom to delegitimise the bookly and rational knowledge acquired in the universities by the Lutheran clergymen. By using the politically charged term “der gemeine Mann”, she appeals to the political defeats of the great majority of laymen in the Early Modern Era. In her polemic against the Lutheran clergymen, it is implied that the expected silent subservience of the laymen towards the clergymen is problematic, since the clergymen due to their blind faith in bookly knowledge are neither righteous nor Christian. Thus, it is suggested that the examined pieces of poetry could be understood as radical criticism of the Lutheran social model. / Genom en diplomatisk utgåva och kontextualisering av två dikter från Geistliche und Weltliche Poemata (1650) av Anna Ovena Hoyer (1584-1655) föreslås två kontexter som särskilt relevanta för att förstå den tidigmoderna tidens prägling i polemiken. Dessa två undersökta kontexter är antiklerikalismen - den negativa attityden gentemot lutherska kyrkomän - och villkoren för att skriva som kvinna i tidigmodern tid. Genom att bidra med kommentarer och information kring dessa två kontexter påvisas att dessa framgångsrikt kan förklara vilka retoriska strategier som den outbildade poeten använder för att rikta en radikal kritik mot lutherska kyrkomän. Det är anmärkningsvärt att de två diktarna Hoyer och Werdenhagen legitimerar bilden av en moraliskt överlägsen diktande kvinna genom att konstruera en feminin auktoritetsfigur ur berättelsen om Marta och Mariam i Bibeln. Därutöver använder Hoyer denna konstruktion av att vara Guds språkrör och förmedlare av vishet för att avfärda kyrkomännens rationalism och bokkunskap som de fått från sin universitetsutbildning. Genom att använda den politiskt laddade termen "gemene man" hänvisas implicit till tidigmoderna politiska förluster för den stora icke-klerikala allmänheten. I polemiken kritiseras dessutom att den tysta lydnaden till kyrkomännen hos den icke-klerikala allmänheten är problematisk, då kyrkomännen till följd av sin blinda tro på bokkunskap varken är rättfärdigade eller kristna. Därigenom föreslår analysen att den undersökta poesin kan förstås som en radikal kritik av den lutherska socialmodellen.

Ausgehend von einer Analyse zweier Werken der Exilliteratur, Bertolt Brechts Dialogroman Flüchtlingsgespräche (1940/41) und Anna Seghers’ Erzählung Transit (1944), erforscht diese Arbeit das Thema ,Ordnung’ in diesen Texten. In beiden Darstellungen des Exils werden verschiedene Ordnungen dargestellt, deren Durchsetzung im Dasein der ExilantInnen besonders merkbar wird. Pässe und Papiere werden instrumental für die bürokratische Ordnung, die als zentrales Motiv vortritt. Als Hintergrund ist eine militärische Ordnung oder Logik identifizierbar, die mit der bürokratischen Kontrolle von Flüchtlingsströmen verbunden wird. Die ,Ordnungen’ werden in dieser Literatur herausgefordert; durch direkte satirische Kritik und durch die Darstellung militärischer und bürokratischer Logiken, die mit ,menschlichen’ Logiken unvereinbar werden. Die Werke thematisieren auch Nationalsozialismus und Patriotismus mit Bezug zur Exilsituation und zu den ,Ordnungen’, die diese Situation dominieren. / This article explores the theme of order (‘Ordnung’) in german ‘Exilliteratur’, with the examples of Bertolt Brecht’s dialogue novel Flüchtlingsgespräche and Anna Seghers’ novel Transit. Orders which are imposed on the refugee / expat are central in both these accounts of the exile experience. Both texts deal with the bureaucratic order as a central or main motive, for which passports and identity documents are instrumental. In addition, a military order can be identified as a background to the bureaucratic control of migrants and refugees. The literature challenges the ‘orders’ through satirical criticism and through the description of military and bureaucratic ‘logic’ which become incompatible with ‘human logic’. The works also bring up national-socialist ideology and patriotism in relation to the exile situation and to the ‘orders’ which dominate this situation.

The present thesis is focused on what linguist Anna Wierzbicka defined as the characteristic features of Japanese language in relation to expressing emotions verbally, which is the essence of expressivity. The research is based on a Japanese speakers' conversations corpus created for the purposes of this thesis and which takes into account factors such as age, social status, gender and various circumstances in which the dialogues are taking place. The thesis examines the area of rather negative emotions. The primary aim of the thesis is to verify the assumptions made by Wierzbicka on the characteristics of Japanese using language analysis of the corpus, and adjust her findings as the case may be. In addition, the thesis will investigate and summarize the most prominent language strategies and means used in expressive communication by Japanese speakers and to determine possible socio-linguistic or cultural factors involved.

In recent years, there has been an undeniable shift in how we think about nonhuman animals. A growing philosophical literature on animal rights has encouraged a deep consideration of the moral status of animals, while scientific research has simultaneously confirmed the fact that many animals have complex cognitive, emotional, and social capacities that strongly mirror our own. Although there is still disagreement about what all this implies in terms of our responsibilities to animals, the idea that animals can experience physical or emotional pain or pleasure is the starting point and not the conclusion of the present inquiry. Many species of animals are sentient beings who possess a viewpoint from which they experience and act in the world around them - and hence may be said to be agential. My dissertation explores what it means for us to extend, conceptually and morally, agency to animals. I address this "extension of agency" predominantly from an aesthetic perspective, although in doing so I in no way intend to limit the range of related philosophical concerns. On the contrary; to extend agency to animals, I argue, calls for a revised understanding of our habitual spectatorial stances--how we look at animals. To grasp these stances, I investigate how animals have been looked at in literary works of art. Does the literature show our spectatorship to extend agency to animals or do we objectify them so as to deny their capacities as agents altogether? My dissertation focuses on excerpts from three significant works of literature--works by Nathanael West, Ernest Hemingway, and Leo Tolstoy--each of which stages a specifically athletic engagement involving animals, in this way bringing focus to the issue of our spectatorship. Each excerpt serves as philosophically illuminating material and as an exemplary case regarding humanity's willingness or refusal to extend agency to animals. I am particularly interested in the role of animals in human-engineered sports, and in how extending agency to animals in sports changes or ought to change the way we watch sports that involve animals. Within the philosophy of sport, the accepted approach has been to liken animals to sporting equipment or tools, and thus to make no substantive distinction between animal and non-animal sports. This, I argue, reflects a refusal to extend agency to animals, which has led also to an oversimplification and mischaracterization of sports involving animals in the first place. Nathanael West's The Day of the Locust takes up cockfighting, Hemingway's The Sun Also Rises centers around bullfighting, and Tolstoy's Anna Karenina includes a memorable, emotionally stirring, steeplechase episode. In addition to investigating what I refer to as the "extension of agency" to animals in these literary works, I revise some of the basic assumptions that have recently guided the burgeoning subfield of the philosophy of sports. I argue that we must acknowledge that there exists a fundamental difference between the modes of spectatorship that accompany sports that only involve humans, and those that involve animals. For to extend agency is to extend the moral domain to that or those who are "other" than ourselves. Once animals are introduced into a sport, they imbue the sport with all the aesthetic complexities that come with looking at an animal outside of sport: the unique exotic beauty of the animal body and its fitness to function, but also its vitality, wild autonomy, expressiveness, and reciprocity of gaze. This means that our interactions with animals, even in the case of organized sport or performance, are not purely aesthetic in a formal artistic sense; they are also expressive and communicative. The concept of the formal aesthetic that many employ when talking about art - the formal qualities that we attribute to the arts - is not sufficient to accommodate sports that involve animals and a spectatorship of animals. Animals are expressive, and this expressiveness is fundamental to correctly understanding our spectatorship of them. Animals are far more than our equipment. The aesthetic of animal sports must, I conclude, accordingly incorporate expressiveness and empathy, such that we see animals in fellowship with us as participants in sports. Extending agency to animals is the core concept of a morally inflected aesthetic of inter-subjectivity.