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This diploma thesis thematically follows up one of subgenres of young adult popular literature - paranormal romance. Its main aim is to create a comprehensive definition of this subgenre on the basis of interpretation of representative sagas - Twilight by Stephenie Meyer (Twilight, New Moon, Eclipse, Breaking Dawn), Hush, Hush by Becca Fitzpatrick (Hush, Hush, Crescendo, Silence, Finale), Nightshade by Andrea R. Cremer (Nightshade, Wolfsbane, Bloodrose, Snakeroot), Wings by Aprilynne Pike (Wings, Spells, Illusions, Destined) and Anna Dressed in Blood by Kendare Blake (Anna Dressed in Blood, Girl of Nightmares). The thesis was divided into eight chapters. In the first chapter we have outlined the historical development of paranormal romance, in the second part we focused on its genre characteristic. In the third and fourth chapters we tried to create a prototype of heroine and hero of this subgenre. The fifth part is about the steady plot schemes in paranormal romances. In the sixth chapter we have tried to determine a model form of relationship main pair of lovers in the analyzed subgenre. In the seventh part we discussed conflict between everyday reality and the supernatural and the social hierarchy in the fiction world of paranormal romances and we introduced supernatural species and races that...

Dans les années 1870, Émile Zola bénéficia d’une popularité exceptionnelle en Russie, comptant parmi les auteurs étrangers les plus lus. Nous nous proposons d’écrire précisément dans notre thèse l’histoire de cette extraordinaire rencontre franco-russe en nous appuyant sur des documents majoritairement inédits en français.Dans la première partie de cette étude, nous voyons que Zola se trouvait encore à l’heure difficile des débuts lorsqu’il fit la connaissance, en 1872, d’Ivan Turgenev. L’écrivain russe promit de lui trouver un engagement en Russie. Il négocia avec Mihail Stasulevič, le directeur de l’une des principales revues libérales de Saint-Pétersbourg. En 1875, au vu des premières critiques russes très favorables au romancier français, Stasulevič se laissa convaincre de recruter Zola au Messager de l’Europe comme correspondant parisien. Anna Engelhardt, la traductrice attitrée de Zola au Messager de l’Europe, joua un rôle clé dans son triomphe en Russie.Dans la seconde partie, nous analysons la correspondance échangée entre Zola, Turgenev et Stasulevič pendant près de dix ans, que nous avons intégralement reconstituée et traduite en français, pour établir précisément l’histoire de la collaboration d’Émile Zola au Messager de l’Europe. Les soixante-quatre textes que Zola composa à destination du lectorat russe – les Lettres parisiennes – sont présentés chronologiquement, rythmant notre lecture de la correspondance à trois voix. Régulièrement, les critiques russes émises en réaction aux écrits zoliens viennent enrichir notre réflexion.Cette approche nous permet d’évaluer objectivement quelle fut en son temps la réception de l’oeuvre d’Émile Zola en Russie. / In the 1870’s, Émile Zola enjoyed exceptional popularity in Russia, counting among the most read foreign authors. In the context of this thesis, we propose to write the precise story of this extraordinary Franco-Russian encounter, relying on mostly unpublished documents in French.In the first part of this study, we see that Zola was in an awkward situation when he made Ivan Turgenev’s acquaintance in 1872. The Russian writer offered his aid, promising to find a commitment for him in Russia. He negotiated to this end with the director of one of the leading liberal reviews of Saint-Petersburg, Mihail Stasulevič. In 1875, in view of the first Russian critical appreciations which were very favourable to the French writer, Stasulevič was persuaded to recruit Zola in "Вестник Европы" [The Herald of Europe], as Parisian correspondent. Anna Engelhardt, who was one of the first Russian critics to focus on Zola, played a key role in his triumph by becoming his official translator at the Herald of Europe.In the second part, we analyze the correspondence exchanged between Zola, Turgenev and Stasulevič for nearly ten years, which we have entirely reconstituted and translated into French, to establish the detailed story of Emile Zola’s collaboration to the Herald of Europe. The sixty four texts which Zola composed for the Russian readership, the Parisian Letters, are presented chronologically, punctuating our reading of the tripartite correspondence. Regularly, the Russian critical appreciations ventured in response to Zola’s publications come to enrich our reflection.This approach allows us to estimate objectively which was the reception of Emile Zola's work in Russia at this time.

The main focus of this disertation are relationships of Jan Neruda. They are explained from two different points of view: historical and didactic. The historical part is about the facts, for which the evidence can be found. Those that don't have any evidence in the historical sources are separated. In this part there were also discussed some novels, which portray Jan Neruda. The didactic part contains of the analysis of the textbooks, there was studied, how the information about Neruda's relationships were explained to the students. The last chapter is about websites, where the information about this topic can be found. This topic was there also assessed from the historical and didactic point of view.

Learning from traumatic events: a comparative case study of governmental close protection policies in the aftermath of the murder of Olof Palme and Anna LindhViolent and threatful crimes against politicians are as despicable as any other crime acts against citizen. However, if politicians are targeted solely due to their position – the act can seriously damage the state and central government. This paper compares reports of government commissions and investigations which were initiated after the murder of Swedish prime minister Olof Palme in 1986 and secretary of state Anna Lindh in 2003. The purpose is to analyse and compare the conclusions and distinguish the main arguments that led to those conclusions and decipher similarities and differences through the lens of Tom Christensen’s instrumental perspective as well as Peter May’s social policy learning theory. The methodological approach of a qualitative method for this study fosters a deeper understanding of the ideological stances. Furthermore, the qualitative approach of conducting interviews with officials in various government positions has allowed for a more nuanced and thoughtful analysis. Together with the commissions and report, the interviews provide a holistic perspective of the two timeframes. The research question has been posed as follows: When comparing government commissions regarding the close protection of the central government, which essential similarities and differences can be distinguished? The result suggests that, an ideological change regarding main threats against the central government has taken place. The main policy discussions in the aftermath of the murder of prime minister Olof Palme was terrorism and if it could have been prevented at the time being. One major policy change was the build-up of the Swedish counter-terrorist unit. The main policy discussions in the aftermath of the murder of Anna Lindh was the issue of citizens with severe mental illnesses and how to detect those that pose serious threats to the central government at an earlier stage. Furthermore, given the conclusions of the commissions and reports, it is possible to determine that ”social policy learning” has occurred as according to Peter May’s theory. However, the study also notes an crucial exception; government officials in need of close protection can henceforth conform the structure of it and determine whether they want it or not.

This thesis is about the geopolitics of feminist knowledge and the role of the visual arts in conceiving and reconfiguring postsocialist feminist imaginaries. Its central concern is to contest the fantasy, prevalent within Western feminist theorizing, of a “lag” between Western and former Eastern Europe. The thesis explores these imaginaries on a micro scale, zooming in on the deeply personal and political artwork of a contemporary feminist and lesbian-identified Estonian artist, Anna-Stina Treumund. This partial and limited focus on Treumund’s photographic self-portraiture enables us to look into the intensities and specificities of individual experience in postsocialist space. Throughout, the thesis evokes a whirling subject as a feminist figuration. This is simultaneously a reference to the embodied and the relational structure of knowledge-systems and world-making. Drawing on postsocialist, postcolonial, queer and feminist visual culture studies, the author argues that Treumund’s art is always already embedded in the local context, as it builds on and problematizes the existing discussions of feminist generations, theorizing, activism and art practices. Combining close readings of Treumund’s artworks with contemporary theoretical debates in feminist studies, encounters with the artist and autobiographical narratives, this thesis asserts: there is no “lag”. More importantly, it is of utmost ethical and political importance to pay closer attention to geopolitical locatedness as an axis of difference that matters in contemporary feminist theorizing. / Den här doktorsavhandlingen handlar om geopolitik i feministisk kunskap och bildkonstens roll i förståelse och omskapande av postsocialistiska feministiska föreställningar. Dess huvudsakliga fokus handlar om att bestrida den i västerländsk feministisk teori ofta förekommande fantasin om att före detta Östeuropa på olika sätt ”släpar efter” i relation till väst. Doktorsavhandlingen utforskar dessa föreställningar på mikronivå då den zoomar in på det djupt personliga och politiska bildkonstarbete utfört av den samtida feministiska och självidentifierat lesbiska estniska konstnärinnan Anna-Stina Treumund. Avhandlingens partiella fokus på Treumunds fotografier i form av självporträtt möjliggör för oss att få inblick i de intensiteter och specifika förhållanden som utgör en individuell erfarenhet av att befinna sig i det postsocialistiska rummet. Genomgående i doktorsavhandlingen används det virvlande subjektet som feministisk figuration. Figurationen innebär simultant en referens till den förkroppsligade och den relationella aspekten av kunskapssystem och skapande av världen. Med utgångspunkt i postsocialistiska, postkoloniala, queera och feministiska studier av visuell kultur argumenterar författaren att Treumunds bildkonst alltid redan är inbäddad i en lokal kontext, detta sedan den växer fram ur och problematiserar de diskussioner som pågår mellan feministiska generationer, i teori, aktivism och bland konstutövare. Genom att kombinera närläsning av Treumunds konstnärliga arbete med samtida teoretisk debatt inom feministiska studier, med möten med konstnärinnan, och med självbiografiska berättelser, försäkrar denna avhandling: det finns ingen “eftersläpning”. Än mer väsentligt är att betona att det är av yttersta etisk och politisk vikt att ägna mer uppmärksamhet åt geopolitiska lokaliseringar som skillnadsskapande faktor i samtida feministisk teoribildning.

The overall theme of this diploma thesis are homilies entitled to Saint Anna by two baroque homilists, who origin from various language backgrounds. This thesis is divided into two major sections. The first section includes general information about the important baroque preachers {--} with a focus on Bílovský and de Waldt. It also provides valuable information about the contemporary grammars. The first section of this thesis is primarily based on a proven literature theory. The second section of this thesis includes practical analysis of three specific homilies on the phonological and morphological levels. The analysis is based on the theme, style, and lexicon pages of content as well as the confrontation of their means of expression. The objective of this thesis is a comparison of the languages, shown by both preachers through phonology, morphology, and the judgment of a level to which spoken language extends into their language.

This study will explore the role of female authors and their female protagonists in contemporary Scottish and Nordic crime fiction. Authors including Val McDermid, Denise Mina, Lin Anderson and Liza Marklund are just a few of the women who have challenged the expectation of gender in the crime fiction genre. By setting their novels in contemporary society, they reflect a range of social and political issues through the lens of a female protagonist. By closely examining the female characters, all journalists, in Val McDermid’s Lindsay Gordon series; Denise Mina’s Paddy Meehan series; Anna Smith’s books about Rosie Gilmour; and Liza Marklund’s books about Annika Bengzton, I explore the issue of gender through these writers’ perspectives and also draw parallels between their societies. I document the influence of these writers on my own practice-based research, a novel, The Invisible Chains, set in post-Referendum Scotland. The thesis will examine and define the role of the female protagonist, offer a feminist reading of contemporary crime fiction, and investigate how the rise of human trafficking, the problem of domestic abuse in Scotland and society’s changing attitudes and values are reflected in contemporary crime novels, before discussing the narrative structures and techniques employed in the writing of The Invisible Chains. This novel allows us to consider the role of women in a contemporary and progressive society where women hold many senior positions in public life and examine whether they manage successfully to challenge traditional patriarchal hierarchies. The narrative is split between journalist Megan Ross, The Girl, a victim of human trafficking, and Trudy, who is being domestically abused, thus pulling together the themes of the critical genesis in the creative work. By focusing on the protagonist, the victims and raising awareness of human trafficking and domestic abuse, The Invisible Chains, an original creative work, reflects a contemporary society’s changing attitudes, problems and values.

Syftet med studien har varit att med en mikrohistorisk ansats lyfta fram Anna Wemans roll som en föregångare i den svenska förskolans historia. I undersökningen av Wemans pedagogiska material skapas en bild av hur den småbarnsskolornas pedagogiska utveckling i riktning mot Fröbel såg ut vid sekelskiftet 1900. Med hjälp av en analys som påbörjades redan vid arkivet har jag hittat tecken på spårberoende, förändring och kontinuitet gentemot såväl dåtid som nutid. I arbetet har en empiridriven metod använts och empirin har visat tydliga tecken på att Anna Weman var engagerad och påläst inom gängse pedagogiska metoder och att förändringsarbetet bedrevs med en respekt och ödmjukhet inför det förflutna.

The horse-book is a literary genre which is considered very popular among young girls. Black Beauty (1877) by Anna Sewell is the very first horse-book and was therefore what started the genre. It is highly different from the horse-books of today which is what this paper looks at to see how the genre has evolved. This is done by comparing Sewell’s novel to Britta och Silver (1966) by Lisbeth Pahnke and Alla älskar Sigge (2004) by Lin Hallberg. This is done by looking at how these novels are alike and different from one another with connection to the horse and the human. And how it differs when the horse is the narrator as compared to when the human takes the narrating role. In Black Beauty the horse is telling its life story and how humans treat the horse as some of the people in the novel are cruel towards horses. Many of the dangerous moments are caused by the humans being mean towards the horse. Whereas in the other books it is pure accident, the danger also mildens. In Britta och Silver there are mainly riding accidents but also a death incident where a horse dies. In Alla älskar Sigge the most dangerous thing that happens is that a pony gets so sick that it must go to the hospital where it is cured. These dangers getting milder is connected to how the genre is targeted towards a younger audience nowadays. In all three books there is also a clear boy-girl relationship between horse and human. The narrative makes how the human girl views the male horse sound like a description of a love interest. This makes the genre heteronormative. And with the narrative switching from the horse to the human there is also shown more of the human’s relations to one another and rivalry in the stable.