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Diss. Stockholm : Stockholms universitet, 2005.

Diss. Stockholm : Stockholms universitet, 2005.

En retorisk analys av Johan Vilhelm Snellmans och Malla Silfverstolpes följdskrifter till Carl Jonas Love Almqvists roman Det går an.

The subject of this thesis is the social-adventure novel which was popular in the 1840s and early 1850s in Sweden. In contrast to literary critics who have tended to regard the thrilling plot of the genre as merely a way of creating effects, I try to analyze the plot as a bearer of both meaning and ideology. Inspired by the Russian scholar Mikhail Bakhtin, I define the plot in the genre as an adventure-plot, with links back to the novel of Antiquity. In an introductory chapter I discuss theories of genres which resembles the social- adventure novel. I conclude the chapter with a brief discussion of the differences between the adventure novel and the biographical novel. In chapter 2 I look into the reception of the social-adventure novel by contemporary critics. In the first case-study, I examine Samvetet eller Stockholms mysterier, 1850, (The Conscience or the Mysteries of Stockholm), by C. F. Ridderstad. By means of the ad­venture-plot we are introduced to everyday life in Stockholm in the middle of the cen­tury. But the adventure-plot also had other possibilities. It could be used to examine the various competitive moral and ideological views that were current at the time. In the second case-study, I analyze a variant of the social-adventure novel which deals with the development of the individual. The need to examine ideology and its values is essential in the historical-adventu­re novel. This case-study contains readings of novels by Ridderstad, J. A. Kiellman- Göranson and C. J. L. Almqvist. The function of the plot in the historical-adventure novel is to test the "natural" qualities of the heroes; to examine the ideology of the vil­lain; and finally to claim that history in the end depends upon the (im) moral actions of the individual. This is created through the mixture in the novels of historical time and adventure-time. The thesis ends with an analysis of a novel by Viktor Rydberg, Den siste athenaren, 1859, (The Last Athenian). In this novel there is also an adventure plot, but no ad- venture-time. The reason for this is that Rydberg only uses the adventure plot for his own monologic view of history and the destiny of mankind. Rydberg's novel marks an ending. It stands as the final expression of that period which began in the 1830s, in which the novel emerged as a leading genre in Swedish literature. / <p>Diss. Umeå : Umeå universitet, 1990</p> / digitalisering@umu

ABSTRACT And concrete diction Carl Jonas Love Almqvist’s Drottningens juvelsmycke (The Queen's Tiara; 1834) is, along with Amorina, the work primarily associated with the ”poetic fugue” – a concept the author develops in ”Om enheten av epism och dramatism; en aning om den poetiska fugan” (”On the unity of epism and dramatism; a notion of the poetic fugue”; 1821); an essay often considered vague and theoretical by researchers in the field. The meaning of the poetic fugue has been regarded unclear, but mainly considered as some kind of synthesis of epic and dramatic writing. This essay argues that that is not the case, and that this one-dimensional approach both limits the interpretations of the essay and the poetic fugue as a whole. From a multidisciplinary perspective, with myself and my own reader as a part of the fugue itself, the aim of this essay is to highlight a very important overseen aspect of the poetic fugue, and Almqvist’s writing in general – the connections to mathematics, the analogies between abstract and concrete levels, and how these are deeply intertwined. The results in this essay are derived from a close reading technique based on mathematical problem solving called the ideotic method (den ideotiska metoden), and analyzed with Douglas Hofstadter's theory of Strange loops in Gödel, Escher, Bach – an eternal golden braid (1979). This analysis shows that this analogy is not just about the composition of a poetic piece of art, a synthesis of epic and dramatic writing, or the relation between music and text. Instead the results do point to an alternative interdisciplinary interpretation, where the relations between parts and units, realities and fictions, readers and texts, make the poetic fugue more of an analogy for the universe as a whole – a living and breathing ”animal coeleste” in contrast to the Newtonian ”mechanical coeleste”. An analogy which, thanks to its mathematical construction and way of looking at time as non-linear, is connected to both Einstein’s theory of relativity and quantum theory – the science of the very big and the very small, parts and units, of everything, including ourselves.

Maria Gripe’s shadow-series consists of four novels written in the 1980s and feature a character who present themselves as both as a girl and a boy. Carolin, also known as Carl has got a mysterious and captivating aura that leaves everybody fascinated and most people enamoured with him/her. Carolin shares many similarities with the 19th century author Carl Jonas Love Almqvist’s character Tintomara from the novel The Queen’s Tiara (Drottningens juvelsmycke). This essay examines the desire that is aimed at Carolin and explores the queer situations that arises as consequences of his/her cross dressing. I comparatively analyse the desire expressed in the shadow-series and The Queen’s Tiara to find similarities in who is affected by it and where the queer situations occur. The damaging effect of the desire is explored as well. The essay concludes that while most situations can be viewed as both heterosexual and homosexual Gripe uses genres and metaphors that amplify the queerness. Both Carolin and Tintomara are greatly affected by the desire toward them and get hurt because of it. Gripe and Almqvists charismatic androgynous characters bring desire and despair wherever they go, at least as long as they do not conform to society’s norm of gender dichotomy.