No description available.

<p>To the general public, Anders Frostenson clergyman and poet, is primarily known for his many contributions to the Swedish hymn treasure. He was born on 23 April 1906. The present thesis examines and defines the theology embodied in his works, especially in his hymns, showing that Frostenson occupies a central and unique position in the Swedish 20th Century Christian tradition.</p><p>The study charts Frostenson´s life and work from poetry to hymn, and draws attention to the growth of a long-standing, significant authorship, that has served to make the Christian gospel accessible, relevant, and down-to-earth.</p><p>Much has happened in the last century. The 1900s have been characterised by enormous changes, social, cultural and public, involving both individuals and nations. Matters of opinion and aims, union and dissension, have in a special way been put at the centre of things. This is also reflected in Anders Frostenson´s work.</p><p>Frostenson´s autorship can be understood in terms of four concepts, which reflect the epiphanic mode of his works: the Word, the Testament, the Confirmation, and the Inheritance. These concepts can to a great extent be chronologically ordered, and taken together they function as the cornerstones on which Frostenson´s theology is built. The relationship between the four cornerstones and different periods is defined against the background of Frostenson´s existential situation and the socio-cultural context.</p><p>The theological analysis shows how central Christian themes and the Christian philosophy of life are shaped in the meeting of tradition and actuality. Frostenson conveys the idea that God reveals himself in the here and now. Human suffering is God´s injunction to the world to act with love in daily service. The sense of belonging and continuity makes life meaningful and excludes no one from the earthly and heavenly “endless home”. In true Lutheran spirit Frostenson places his creative will and words in the service of God.</p><p>The 1986 Hymnal is the cultural treasure through which Frostenson chiefly brought Word and Tradition into the everyday world. The cultural concept has been expanded with his help, through, among other things, spiritual song, where trust and tradition are obviously linked together with contemporary Christian culture.</p><p>In 1935, Anders Frostenson wrote ´Let my life also be a working day, in Your vast Kingdom!` On 4 February 2006, that long day´s work finally came to a close.</p>

To the general public, Anders Frostenson clergyman and poet, is primarily known for his many contributions to the Swedish hymn treasure. He was born on 23 April 1906. The present thesis examines and defines the theology embodied in his works, especially in his hymns, showing that Frostenson occupies a central and unique position in the Swedish 20th Century Christian tradition. The study charts Frostenson´s life and work from poetry to hymn, and draws attention to the growth of a long-standing, significant authorship, that has served to make the Christian gospel accessible, relevant, and down-to-earth. Much has happened in the last century. The 1900s have been characterised by enormous changes, social, cultural and public, involving both individuals and nations. Matters of opinion and aims, union and dissension, have in a special way been put at the centre of things. This is also reflected in Anders Frostenson´s work. Frostenson´s autorship can be understood in terms of four concepts, which reflect the epiphanic mode of his works: the Word, the Testament, the Confirmation, and the Inheritance. These concepts can to a great extent be chronologically ordered, and taken together they function as the cornerstones on which Frostenson´s theology is built. The relationship between the four cornerstones and different periods is defined against the background of Frostenson´s existential situation and the socio-cultural context. The theological analysis shows how central Christian themes and the Christian philosophy of life are shaped in the meeting of tradition and actuality. Frostenson conveys the idea that God reveals himself in the here and now. Human suffering is God´s injunction to the world to act with love in daily service. The sense of belonging and continuity makes life meaningful and excludes no one from the earthly and heavenly “endless home”. In true Lutheran spirit Frostenson places his creative will and words in the service of God. The 1986 Hymnal is the cultural treasure through which Frostenson chiefly brought Word and Tradition into the everyday world. The cultural concept has been expanded with his help, through, among other things, spiritual song, where trust and tradition are obviously linked together with contemporary Christian culture. In 1935, Anders Frostenson wrote ´Let my life also be a working day, in Your vast Kingdom!` On 4 February 2006, that long day´s work finally came to a close.

No description available.

No description available.

No description available.

<p>The purpose of this study is to investigate the distribution of medieval ballads as semiotics of intertextuality in modern Swedish literature, here represented by August Strindberg, Erik Axel Karlfeldt, Kerstin Ekman and Katarina Frostenson. They are famous authors from different epochs, ranging from the period called “the modern breakthrough” in the 1880s until the postmodernism of the present time. My aim is to expose their attraction to medieval balladry, and their different ways of using form, language and style from this old poetry in poems, prose and plays, explicit as well as implicit.</p>

The purpose of this study is to investigate the distribution of medieval ballads as semiotics of intertextuality in modern Swedish literature, here represented by August Strindberg, Erik Axel Karlfeldt, Kerstin Ekman and Katarina Frostenson. They are famous authors from different epochs, ranging from the period called “the modern breakthrough” in the 1880s until the postmodernism of the present time. My aim is to expose their attraction to medieval balladry, and their different ways of using form, language and style from this old poetry in poems, prose and plays, explicit as well as implicit.

I den här uppsatsen har jag undersökt argumentationen i Katarina Frostensons K – en skönlitterär bok som skrevs i en tid (hösten 2017 till våren 2018) då #metoo-rörelsen svepte över världen och 18 kvinnor hade vittnat i DN om övergrepp av en känd kulturprofil med nära band till Svenska Akademien. Flera medier namngav mannen som Jean-Claude Arnault, make till akademiledamoten och poeten Katarina Frostenson. Händelserna ledde till en av de största kriserna i Svenska Akademiens historia och K är Frostensons första och enda offentliga yttrande rörande situationen. Boken utkom i maj 2019 och den här undersökningen väljer att tolka den som ett slags försvar mot det Arnault och hon själv har anklagats för. Då samtida retorisk teori visat på vikten av myter i argumentation (Bengtson 2012), och både juridiska och empiriska aspekter talar emot Frostensons retoriska problem, har underökningen utgått från att argumentationen använder sig av emotionella och suggestiva appeller i form av myter. Med hjälp av Brummets närläsningsmetod (2019) och Lindqvists topikteori (2016) har Frostensons argumen-tation delats in i tre övergripande topiker. Dessa har sedan analyserats och identifierat ett antal myter som Frostenson använder sig av för att stärka sin argumentation. En myt som analyseras mer djupgående är exempelvis den antika myten om megäror och kvinnor som hämndlystna monster, vilken Frostenson applicerar på kvinnorna som vittnat i DN. En annan myt handlar om kollektivets behov av syndabockar och att Arnault fått den rollen. En tredje myt hävdar att svenskar är främlingsfientliga eftersom Arnault får ta skulden på grund av sin franska och judiska härkomst. En fjärde myt argumenterar för att åtrå legitimerar våld, vilket hon försöker stärka genom den bibliska berättelsen om kung David och Batseba.  Utöver Bengtsons tolkning av Barthes mytteori (2012) som utgångspunkt har undersökningen bland annat tagit avstamp i kommunikationsprofessorn McFarlands teori om kopplingen mellan myten och det heliga (1989), genusforskaren Tassis teorier om kvinnor och hämnd (2011) samt Richard Kearneys tolkning av René Girards offermekanismer (1995). Vidare har analysen satts i relation till relevant tidigare forskning och kopplats till både historiska och samtida händelser och kontexter. Jag hävdar att min undersökning visar hur viktigt det är att söka efter mer än bara logiska premisser i argumentation. Frostenson har i princip uteslutande myter som bas i sin argumentation, och de är inte alltid helt uppenbara – dolda i suggestiva termer och ett symboliskt språk. Ett av den här uppsatsens syften var att försöka visa hur en mytisk argumentationsanalys kan gå till i praktiken, för att utöka kunskapen kring hur vi kan förstå argumentation i känslomässiga kontexter, så som i debatter om sexuella övergrepp, men också rent generellt. Resultatet som framkommit i undersökningen, det vill säga den mängd myter som identifierats och analyserats, bör inspirera till vidare forskning i ämnet. Jag menar att det finns ett uppdämt behov av just sådana här argumentationsanalyser och att retorikvetenskapen har en viktig roll i detta.Sökord: Katarina Frostenson, K, Jean-Claude Arnault, #metoo, Svenska Akademien, myter, mytisk argumentation, Roland Barthes, Erik Bengtson, Janne Lindqvist, topiker, litteratur, retorik, poesi, poet, skönlitteratur.