Diss. Stockholm : Univ., 2004.

Uppsatsens syfte är att undersöka hur Frida Stéenhoff använder stilfigurerna metafor, liknelse och metonymi i sitt debutdrama, Lejonets unge. Utgångspunkten är föreställningen om att de ersättande stilfigurerna används vid tabubelagda ämnen och genom att göra en diskursanalys vill jag se om det stämmer. Jag definierar de olika stilfigurerna efter Per Lagerholms definition i Stilistik och tar i diskursanalysen även hänsyn till hur 1890-talet var historiskt och kulturellt, dramats fiktiva verklighet och de olika karaktärernas värderingar. Resultatet presenteras i form av analyser av sju utvalda scener. Analyserna visar att Stéenhoff använder en mängd metaforer, liknelser och metonymier i Lejonets unge. Hon låter dock sällan publiken själv tolka innebörden av stilfigurerna. I stället är det karaktärerna i dramat som oftast reder ut de ersättande uttrycken. Tabubelagda ämnen presenteras i ersättande uttryck men klargörs genom dramats gång, då Stéenhoff inte låter publiken missförstå dramat.

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Uppsatsens syfte är att undersöka kvinnan och modersgestalten i dramatik från 1800-talets moderna genombrott utifrån ett genusperspektiv. Materialet som ligger till grund för undersökningen består av tryckta manus till fyra olika dramer: Et dukkehjem av Ibsen, Räddad av Agrell, Sanna kvinnor av Leffler och Fadren av Strindberg – alla ursprungliga skrivna under perioden 1879–1887. Tidigare forskning kring moderskap visar hur normer och värderingar av och i samhället ställer olika krav på hur en moder ska vara. För att uppfylla syfte tillämpas en kvalitativ litteraturanalys med närläsning av materialet och i slutdiskussionen diskuteras och jämförs de olika dramerna. Undersökningens resultat visar att kvinnorna i dramerna påverkas av samtidens samhällsnormer samtidigt som kvinnorna även lyckas utmana sin modersroll på olika sätt, vilket även går hand i hand med det moderna genombrottet inom litteraturen. Dramernas skildring av kvinnan och modergestalten speglar den tid då kvinnors frihet tar sin början men fortfarande i hög grad begränsas av normer och samhällets krav.

Research has shown that the present-tense novel poses significant logical problems of narrative mediation. For this reason, the current essay addresses the question of whether, due to these problems, the heterodiegetic present-tense novel is a case of unreliable narration. To this end, the essay first discusses the sustainability of the concept of unreliability. Its point of departure is the observation that researchers have created significant confusion by applying a characterological concept to literary phenomena. Despite an overwhelming amount of pertinent essays and monographs on the topic, the central questions raised by this concept are still highly contested: To which narrative instances can we plausibly apply the category of unreliability? Precisely which narratological aspects of the mediating instance can we account for using the category of unreliability ?

The issue of this thesis concerns a selection of historical debates in which new Swedish drama is under discussion. The studied debates take place in the cultural and political fields and within the fields of theater and literature and deal with a recurring assumption in Swedish theatre history – that new Swedish drama is insufficient. The primary object of this thesis is to find explanations to: why is the Swedish new drama so often described as defective? The following questions, guiding the analysis, are: How are the crises described? What are the stakes? How has the dramatic text been influenced by being judged either as literary product or a product for the stage? How is the playwright’s role described, and perhaps changed, in the crises? The aim of the analysis is to understand how traditions and conventions are shaping the debates and contribute to perpetrate the myth of the malfunctioning Swedish new play. In a historical perspective several attempts have been made to govern new Swedish drama by legislative and political power. New Swedish drama has, for example, been viewed as a possible expression of the nation, as part of shaping the Swedish Welfare state or creating interactive communication with the audience. Despite its many uses, new Swedish drama continues to be describes as flawed. The study starts with King Gustav III:s Swedish theatre where the purpose was to produce Swedish original plays. The study ends with an analysis of a new government grant for new Swedish drama, which was installed in 1999. The chosen debates are analyzed with the help of concepts borrowed from the French sociologist Pierre Bourdieu, looking at each historical situation as a possible moment for the establishment of the field ”new Swedish drama”. The survey ends with eight interviews with playwrights, who are active today. The conditions for the new Swedish drama are the guiding line in this thesis. These conditions are found in the cultural, social and historical contexts that cooperate when a taste or convention is being shaped. They are part of the discourses in the field, where criteria for the new Swedish drama is formulated. In order to understand the significance of, for example, the expression, ”the newly written Swedish drama” research has been pursued in biographical material, historical surveys, and debates in the daily press and in professional journals. Without being a full bourdieuan analysis, the thesis is using concepts from Bourdieu. The work of British feminist theatre historian Tracy C Davis inspires the critical historic perspective.

<p>My essay is about the latter period of Anne Charlotte Leffler’s authorship. In Part I of my essay, I describe her path from the 1880s, where she described femininity as a shortcoming, as writes Ingeborg Nordin-Hennel, towards the 1890s and towards describing femininity as a possibility. This development took place on two levels – on an outer level, where all the woman writers in the late 1880s were influenced and where they were pushed out by the male writers, and on an inner level with Leffler herself.</p><p>Her late literary works depict new and more independent types of women, and eroticism is given a more prominent position. In Part II, I study Tre komedier (Three Comedies) which was published in 1891 and which includes the plays Den kärleken (Love is Strange), Familjelycka (Family Happiness), and Moster Malvina (Aunt Malvina). In my opinion, they are early expressions of the New Woman fiction. For my analysis, I use the criteria of genre for the New Woman fiction that is defined by Ebba Witt-Brattström. New Woman fiction is a lost link between the literature of social protest of the 1880s and female modernism. That characterizes, among other things, a new type of woman, who is intellectually and sexually aware. The plot is often contradictory and open-ended which allows scope for interpretation. The protagonist usually has a girlfriend or another woman, whom she can use as a mirror, and there is a new women’s “sistership” emerging, and the urban setting is yet another characteristic. The protagonist often stays at a boarding house or is out on a journey. The new male character is a weakling as opposed to the bourgeois masculinity. These features are distinct in Tre komedier. However, I have discovered a few more criteria.</p><p>I also discuss how Leffler, in the comedic form, delivers a pronounced criticism of society. In Tre komedier, the bourgeois matrimony, the bourgeois family, and the treatment of unmarried women are focused upon and criticized. The three plays differ very much from one another in the dramatic forms. Lynn R Wilkinson considers that they are among the first modernistic comedies, and they point forward to authors such as Wilde, Shaw, and Chekhov.</p>

My essay is about the latter period of Anne Charlotte Leffler’s authorship. In Part I of my essay, I describe her path from the 1880s, where she described femininity as a shortcoming, as writes Ingeborg Nordin-Hennel, towards the 1890s and towards describing femininity as a possibility. This development took place on two levels – on an outer level, where all the woman writers in the late 1880s were influenced and where they were pushed out by the male writers, and on an inner level with Leffler herself. Her late literary works depict new and more independent types of women, and eroticism is given a more prominent position. In Part II, I study Tre komedier (Three Comedies) which was published in 1891 and which includes the plays Den kärleken (Love is Strange), Familjelycka (Family Happiness), and Moster Malvina (Aunt Malvina). In my opinion, they are early expressions of the New Woman fiction. For my analysis, I use the criteria of genre for the New Woman fiction that is defined by Ebba Witt-Brattström. New Woman fiction is a lost link between the literature of social protest of the 1880s and female modernism. That characterizes, among other things, a new type of woman, who is intellectually and sexually aware. The plot is often contradictory and open-ended which allows scope for interpretation. The protagonist usually has a girlfriend or another woman, whom she can use as a mirror, and there is a new women’s “sistership” emerging, and the urban setting is yet another characteristic. The protagonist often stays at a boarding house or is out on a journey. The new male character is a weakling as opposed to the bourgeois masculinity. These features are distinct in Tre komedier. However, I have discovered a few more criteria. I also discuss how Leffler, in the comedic form, delivers a pronounced criticism of society. In Tre komedier, the bourgeois matrimony, the bourgeois family, and the treatment of unmarried women are focused upon and criticized. The three plays differ very much from one another in the dramatic forms. Lynn R Wilkinson considers that they are among the first modernistic comedies, and they point forward to authors such as Wilde, Shaw, and Chekhov.

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Theatres and museums share many similarities with each other. Therefore, it can be beneficial for museums to use the potential that performance and museum theatre can provide. The aim of this analysis is to gain a better understanding for museums’ reasons to use drama as an educational method and the different forms of drama that are being used. The following research is a comparative analysis of the use of the theatrical play “The Wider Earth” at London’s Natural History Museum as an educational tool and the active use of creative drama in Swedish museums. The main source material consists of qualitative textual data, collected by means of semi-structured interviews with staff members of all participating museums. For an additional perspective, an interview was conducted with one of the theatrical play’s visitors and my own observations of the play were considered. The theoretical frame for this analysis consists of performance theory, Susan Bennett’s model of theatre audience’s experience and Dorothy Heathcote’s and Gavin Bolton’s view on drama as a learning medium. The empirical source material was analysed by means of content analysis. The results show that more could have been done to incorporate “The Wider Earth” into the museum’s educational program to achieve a better visitor experience. The Swedish museums that are part of this research use different forms of creative drama, but the overarching goal is to combine memorable experiences with education. The main conclusion to this research is that the museum visitor plays a considerable part in every form of creative drama in the museum space because the holistic experience is created by visitor and museum together. This is a two years master’s thesis in Museum and Cultural Heritage Studies.