<p>This is a study of the novel <em>Mes mauvaises pensées</em> (2005) by the French writer Nina Bouraoui. I use an intertextual comparative method, where I read the novel against three intertexts: Marie Cardinal <em>Les mots pour le dire</em> (1975), the David Lynch movie <em>Mulholland Drive </em>(2001) and novels and photographies by Hervé Guibert. Main focus is on the relation between body and language. Using the psychoanalytic theories by Julia Kristeva I examine the melancholy of the narrator in <em>Mes mauvaises pensées</em>. The melancholic subject mourns a Thing which is the unrepresentable archaic mother. Melancholy is connected to the notion of exile; the subject belongs to a lost place in the past which it is still holding on to. The narrator of <em>Mes mauvaises pensées</em> is still living in her childhood, even though she is a grown up woman. I show how the place from where she speaks is the child. The female body and the female sexuality are not represented in the text, there is a missing link between the female body and it’s representation in language – in the symbolic order. According to Kristeva the melancholic denies the loss of the Thing – in the end the mother – and clings to the unrepresentable void. By realizing and acknowledging the loss one can reconstruct the bond to the archaic mother in language. Bouraoui’s failure in writing <em>the feminine</em> into the text is interesting because it puts lights on the conditions of writing the body for women. The theory of l’écriture féminine is an inspiration for the analyses and I contrast it to Judith Butler’s idea of gender performativity. There is a conflict in what constitutes gender and sex between psychoanalysis and queer theory, which is also found in the narrator in Bouraoui’s novel – trying to create herself through pure performativity she never succeeds to act independently of the mother and the female body.</p>

This is a study of the novel Mes mauvaises pensées (2005) by the French writer Nina Bouraoui. I use an intertextual comparative method, where I read the novel against three intertexts: Marie Cardinal Les mots pour le dire (1975), the David Lynch movie Mulholland Drive (2001) and novels and photographies by Hervé Guibert. Main focus is on the relation between body and language. Using the psychoanalytic theories by Julia Kristeva I examine the melancholy of the narrator in Mes mauvaises pensées. The melancholic subject mourns a Thing which is the unrepresentable archaic mother. Melancholy is connected to the notion of exile; the subject belongs to a lost place in the past which it is still holding on to. The narrator of Mes mauvaises pensées is still living in her childhood, even though she is a grown up woman. I show how the place from where she speaks is the child. The female body and the female sexuality are not represented in the text, there is a missing link between the female body and it’s representation in language – in the symbolic order. According to Kristeva the melancholic denies the loss of the Thing – in the end the mother – and clings to the unrepresentable void. By realizing and acknowledging the loss one can reconstruct the bond to the archaic mother in language. Bouraoui’s failure in writing the feminine into the text is interesting because it puts lights on the conditions of writing the body for women. The theory of l’écriture féminine is an inspiration for the analyses and I contrast it to Judith Butler’s idea of gender performativity. There is a conflict in what constitutes gender and sex between psychoanalysis and queer theory, which is also found in the narrator in Bouraoui’s novel – trying to create herself through pure performativity she never succeeds to act independently of the mother and the female body.

Begreppet ”fan edits” betecknar filmer som klipps om av fans, vilka är missnöjda med hur en adaption för vita duken som gjorts. I min uppsats vill jag påvisa dels hur samspelet mellan fans och filmmakare/filmbolag sett och ser ut, dels försöka klargöra varför copyright/fair use är så knepigt att applicera på området.

Mémoire en recherche-création / Ce mémoire a pour objectif d’explorer les différents moyens cinématographiques mis en place par le cinéaste américain David Lynch afin de comprendre comment ce dernier parvient à transporter son audience dans un monde fantastique et bien sûr, étrange. En nous appuyant sur les premières définitions freudiennes de ce que représente l’inquiétante étrangeté (Das Unheimliche), nous explorerons les codes et images récurrentes dans la cinématographie lynchéenne qui font des films du réalisateur des œuvres aux caractères étranges, après avoir étudié en détail les éléments qui nous permettent de classer les œuvres de l’auteur dans la catégorie des œuvres fantastiques. / This thesis aims to explore the different cinematographic means implemented by David Lynch in order to understand how he manages to transport his audience in a fantastic and of course, strange world. By informing ourselves about the first Freudian definitions of what represents the uncanny (Das Unheimliche), we will explore the recurrent codes and images in Lynchian cinematography which make the director’s films works uncanny, right after having studied in detail the elements that allow us to classify the author’s works in the fantastic genre section.

The design of the new stage of the Slovene National Theatre in Ljubljana adheres to, among other things, the motto of the “TACE” (Theatre Architecture in Central Europe) project, i.e. a search of forms and types of buildings for the "New Theatre for the 21st Century". Therefore, I confront three topics: 1/ the conventional binocular conception for the drama chorus of the National Theatre, 2/ the unconventional solution of the "TACE" and 3/ the urban conception of the location, the so-called "Southern Square", designed by Josip Plečnik. Ad1/ The serious and classical feeling of the conventional form of the theatre hall is required, for this is the National Theatre. Slovenia, as a relatively young state, strives to build and strengthen its historical and national existence; therefore, the classical conception should be preferred because most plays dealing with the national identity are written for this type of theatre. Unlike the unconventional type of “performance” theatres that tend to present international rather than national art. Ad 2/ The search for spatial forms of unconventional and interactive staging of traditional types, such as ballet, opera, musical or drama as well as new forms such as “performance” resulted in a clear conclusion - “black box”. The ideal theatre of the future is infinitely multifunctional neutral space equipped with technologies that enable using the area for virtually any purpose. The principle comes very close to that of film studios, yet equipped with theatrical and other technologies. Ad 3/ A controversial location in the centre of Ljubljana, which has been waiting for an urban conception since the 1930s. It is situated at the end of Plečnik’s “Ljubljana diameter”, with the obelisk in the French Revolution Square as the opposite pole. The unfinished axis obelisk-square-theatre is quite apparent. The location features a clearance and an inner block with a poor urban development; yet it also features the so-called Knafijev prehod, a socially well functional part. The building is divided into 2 functional units - the theatre with its halls, lounge, gallery and cafe, and a commercial passage with the theatre’s administration. The facade of the theatre is a composite of several elements: From left, a decoration consisting of a ruptured pillar with a statue of an actor with a background of the fly, as we move to the right, a “curtain” going down in a curve from a glass “heaven” of the theatre’s hall towering over the passage, out of which rises the solid pylon of the gallery made of half-transparent material LitraConTM. This composition shifts the axis of the lounge beyond the axis of the park to the axis of the diameter and makes thus room for service access. The theatre’s area with the passage beneath is linked by a number of newels which can spin and thus close and in this way enable changing the mode of the passage from a lounge to a public area. The conception of the theatre's area combines sections 1/ and 2/ mentioned above. It consists of the classical stage with a trap cellar, portal and fly, which can be used a classical opera-glasses theatre for as many as 800 persons in the audience and/or, if the iron curtain is closed, as a small scene with approximately 100 seats. The remaining area functions as experimental and consists of a revolving auditorium and 4 stages whose back walls feature panorama windows.