Upon being announced as one of the winners of the 1973 National Book Award, John Williams’ novel Augustus (1972) was classified as a book of a supposedly more traditional form compared to John Barth’s experimental work Chimera (1972) that Augustus shared the prize with that year. This essay will examine John Williams’ novel Augustus, with the purpose of analysing two of the novel’s main characters, Augustus and his daughter Julia. To define both of the characters, this essay will be looking in-depth into how Williams showcases the various ways both characters go about using the power that is bestowed upon them. This essay will be employing Fredric Jameson’s Postmodernism, or, The Cultural Logic of Late Capitalism (1991) to establish the environment of nihilism present in the Roman Empire that nears the “waning of affect” and exhaustion Jameson states occurs with the coming of postmodernism. Ferdinand de Saussure’s Course in General Linguistics (1916) will be placed in dialogue with Luce Irigaray’s Speculum of the Other Woman (1974) to showcase the varying masculine and feminine practices of language both characters employ and the consequences these forms of expression bring with the duplicitous ways of the Roman Empire looming in the background behind both Augustus and Julia.

No description available.

Denna uppsats undersöker intertextualitet i två texter; en multimodal text i form av ett digitalt spel och en roman. Det intertextuella begreppet utgår i huvudsak från Bakhtin och Barthes. Analysen finner åtskilliga intertextuella samband i motiv och teman mellan de båda texterna. Efter analysen följer en diskussion om implementeringen av denna form av komparativ analys i en klassrumsmiljö, där diskussionen i huvudsak utgår från Olin-Scheller.

This study attempts to find out if a reading of Michael Romekys novel I, Vampire through the theories presented by psychoanalyst C. G. Jung adds anything to the understanding of the novels narrative. More precisely it attempts to read the novel as an individuation process, a Jungian concept in which an individuals damaged psyche heals itself, of the novels protagonist. This reading is based upon the assumption that the protagonist, David, suffers a trauma when he divorces his wife Clarice. This trauma, and divorce, is read as a split between David ego and his anima, his female aspect. When he is on the brink of suicide, Tatiana shows up, turn him in to a vampire and give his life new meaning. Tatiana is read as his anima, the part of himself that i distanced himself from during the divorce, and he now needs to assimilate with again. This assimilationwhat Jung names the conuncitio, is the goal of the individuation process. In order to success with this individuation process David has to meet and overcome the dark and damaged parts of himself; his shadow aspects to use the Jungian language. These are represented by the evil vampires Jack the Ripper and von Baden. It is only after meeting, and defeating this shadow aspects, and after a rigorous mental training, in order to strengthen his mental abilities, that David can unite with his anima, Tatiana, in the alchemical wedding. The Jungian goal of the individuation process. I find in this study that to read this novel through a Jungian screen show aspects otherwise hidden. The narrative structure, and the symbols in the novel, have a distinct Jungian flavour which give the novel a meaning perhaps not seen on the surface.

This project revolves around the political part poetry that is printed in newspapers can have. It focuses on a Swedish tradition directly translated into “daily verses” where an author writes a political poem every day in a newspaper. How do a political agenda take shape in a poem written in a short period of time and published in a forum like a newspaper? With the use of an analysis and comparison of two separated authors with different opinions in three specific political areas these questions is answered. The authors are Lotta Olsson Anderberg and Caj Lundgren and the political areas studied are gender equality, international political relations and nationalism. The project finds three specific answers to the question. First with the help of tools like metaphors, quotes, rewritten source material and hinting of well known references the political poetry addresses the reader in a direct way. Second these poems use the rhetorical strategy of focusing on the absurd in the opposition rather than arguing for the own political standpoint, turning the tables in an ironic way. The third answer is also the help of a tradition within itself that helps the readers understand the politics. A subgenre understood with help of the forum and the fact that the reader knows the poem will be political just by the headline “daily verses”. This shows that the poetic form called “daily verses” is to be regarded as political poetry.

När finlandssvenska fantasyförfattaren Maria Turtschaninoffs roman Maresi – Krönikor från Röda klostret publicerades 2014 blev Turtschaninoff särskilt uppmärksammad för hennes skildring av kvinnlig vänskap. Maresi utspelar sig på en ö dit endast kvinnor är tillåtna och i ett kloster där kvinnorna dyrkar gudinnan Urmoderns tre ansikten. I frånvaron av män lever kvinnorna i ett isolerat matriarkat där deras relationer till varandra hamnar i förgrunden. I kandidatuppsatsen Urmoderns döttrar analyseras temat systerskap i Maresi ur ett feministiskt perspektiv med fokus på hur klostersamhällets isolation och tro påverkar kvinnornas relationer till varandra och deras syn på sig själva som kvinnor. Utifrån premissen att skildringar av systerskap och kvinnlig vänskap är bristfällig i litteraturen diskuteras också vikten av att skildra dessa, samt hur romanens genre skapar annorlunda förutsättningar för en intressant skildring av kvinnliga relationer.

In this study, I analyze Zac O´Yeah´s novel Tandooriälgen (2006) and discuss how it relates to postcolonial theory and terms like otherness and mimicry. The novel takes place in a not so distant future, where Sweden and Europe have joined the Asian Union which is governed by India. Herrman Barsk, a detective in his hometown of Gothenburg (now called Gautanpuri) has to solve a crime involving four murdered victims that have been grilled in a tandoori oven. The case leads Barsk to the criminal underworld of Gautanpuri, where asocial natives roam the streets and religious extremists plan to liberate the city by use of terrorism. Basing my analysis on postcolonial theorists like Homi K. Bhabha and Frantz Fanon, I examine Barsks role as a colonial subject to identify a critical intention in the novel.

Uppsatsen är en litteraturvetenskaplig analys av Marianne Fredrikssons roman Simon och ekarna utifrån genren magisk realism. Uppsatsens syfte är att undersöka och diskutera hur romanens övernaturliga element samspelar och kontrasterar med romanens realistiska element, samt hur romanen passar in i den magiskt realistiska traditionen. Detta görs främst utifrån Wendy B. Faris fem kriterier för magiskt realistisk litteratur, samt hennes begrepp avfokalisering. I uppsatsens analysdel sker en genomgång av samtliga fem kriterier som diskuteras i förhållande till romanens handling och tematik. Uppsatsen förhåller sig också till Talia E. Crocketts artikel om användningen av textuell tystnad för att beskriva Förintelsen i Simon och ekarna, och finner att den magiska realismen liksom den textuella tystnaden används för att hantera och beskriva det obeskrivliga. Uppsatsen finner vidare att Simon och ekarna placerar sig i den magiskt realistiska traditionen genom sin sammanblandning av gammal folktro, övernaturliga element och realistiska stil.

In this essay called I withdraw into the gap, which is also a crevice. A nomadic subject comes into being in Nina Bouraoui’s Sauvage, I investigate which aspects in the novel play an important part in relation to the protoganist Alya’s process of becoming a subject in the passage from childhood to adulthood. Through Rosi Braidotti’s theories on the nomadic becoming of a subject I investigate a becoming that is nonunitary, non-linear and constantly changing. This becoming happens in the novel between affects like fear, violence, desire and different experiences of time, and also through a non-chronological narrative and a language which can both deceive, and create the world.       My results show that becoming in Sauvage is about being aware of the outside boundaries and one’s own position in relation to those. For Alya, fear and desire work as transformative and transgressional aspects. In between her affective body and the world which tries to force its boundaries on her, she finds that in between those outside images and her inner affective response, there is a space, a gap, and in the movement between is where she becomes who she is in a process that is a constant negotiation. The subject that emerges in the end of the novel is not a unitary subject, but a nomadic one, that is constantly changing and becoming.

El objetivo primario de este trabajo es estudiar cómo Roberto Bolaño utiliza el género policial clásico para construir tres cuentos “Enrique Martín”, “Llamadas telefónicas” y “William Burns” que forman parte de la colección Llamadas telefónicas. Un objetivo secundario es estudiar semejanzas y diferencias en la utilización del género policial clásico entre estos cuentos. Episodios centrales para la trama policial son identificados y analizados utilizando un método de análisis textual, la lectura atenta basada en las teorías de Roland Barthes. Se analiza el grado al cual estos cuentos se atienen a las características típicas del género, así como las semejanzas y las diferencias entre los cuentos. Los tres cuentos contienen tramas y sucesos que son típicos del género policial clásico. El análisis atento de estos episodios muestra que la mayor parte funcionan de manera que dan indicios que, en un verdadero cuento policial, deben tener importancia para la continuación del argumento. Sin embargo, esto no es el caso en estos tres cuentos; típicamente las pistas provistas son falsas y desembocan en la nada. Se concluye que hay semejanzas importantes en cuanto a la utilización del género policial clásico entre estos cuentos.