This master's thesis in Library and Information Science examines how the genre division of the horror fictionis constructed at the children and youth department of a library by studying subject headings of the titles.The aim is to examine what is included in the genre, in the two labelings called vampire and nail-biter/spine-chiller, what separates them, and what difference there is between children and youth thrillers/horror fiction. Also the cover designs and how readers portray these books are studied. The study is made in order to develop the knowledge of the genre to help librarians and borrowers. The great popularity of the genre among borrowers and people in general, and the importance of having knowledge of things that borrowers are interested in, are the motivation of performing the study. The method is a case study and conducted with and based on genre theory which shows how a genre is defined, how it can be divided and what conventions there are for the horror fiction in particular. Discourse analysis helps to see in between what frames the thriller is constructed, and how these elements subdivide the genre and influence it and those who encounter it, library borrowers and librarians. Di-scourse analysis also examines the standards of the thriller.The analysis showed that the discourse of horror fiction includes both the expected features, in terms ofgenre conventions, such as ghosts and vampires, and more commonplace such as sisters. The differences and similarities of these parts in the genre were discussed and compared in the light of discourse analysis and genre theory in order to reveal how these constructions might influence the readers and the borrowers. The major conc-lusions of the study is that the encounter between the unexpected and menacing, and the everyday life is what makes the thriller frightening, now as in history, and so it follows its genre conventions. The discourse of the hor-ror fiction standards are difficult to influence by being expected of borrowers and otherwise they are not thrillers. The study has shown that certain subjects recur more often than other which may affect the borrower in its per-ception of the genre. The genre division helps giving the borrower different kinds of frights and experiences. The joint is that the supernatural is present in the whole genre and convey feelings of excitement and fear which is the most important representative of the genre. This is a two years master’s thesis in Archive, Library and Museum studies.

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Detta arbete utgörs av en skönlitterär översättning från engelska till svenska med tillhörande kommentar. Texten som har översatts är skräcknovellen The Summer People av den amerikanska författaren Shirley Jackson (1916–1965). En källtextnära översättningsprincip upprättades för översättningsarbetet baserat på teorier om skopos, polysystemteori samt domesticering/exotisering. Översättningskommentaren innehåller en redogörelse för de översättningsstrategier som tillämpats vad gäller överföring av källtextens kultur- och tidsspecifika referenser, talspråksmarkörer och stilistiska drag. Det utfördes även en mindre specialundersökning bestående av en kvalitativ jämförelse mellan svenska översättningar av Shirley Jacksons romaner utförda av Inger Edelfeldt och Torkel Franzén. Specialundersökningen visade att Edelfeldt tog sig något större friheter med texten, och framför allt Franzéns översättning hade stora likheter med den aktuella översättningen av The Summer People. / This paper consists of a commented translation of literary fiction from English to Swedish. The translated text is a short story of the horror genre called The Summer People by the American author Shirley Jackson (1916–1965). A source text-oriented translation principle was established for the translation task based on theories such as skopos, polysystem theory and domestication/foreignization. The commentary contains an account for the translational strategies that were applied regarding transfer of culture- and period-specific references, indications of spoken language, and literary style in the source text. An additional minor study was also carried out, consisting of a qualitative comparison between translations of Shirley Jackson’s novels executed by Inger Edelfeldt and Torkel Franzén. The additional study showed that Edelfeldt made slightly more alterations of the text, and Franzén’s translation in particular showed striking similarities to the current translation of The Summer People.

West European Impulses of Bulgarian Diabolism (A Look at the Bulgarian Literature of the 1920s) Abstract Keywords: Bulgarian literature, expressionism, avant-garde, diabolism, horror fiction, marvelous, uncanny, Menippean carnival discourse, romanticism, naturalism, individualism Svetoslav Minkov (1902-1966), Vladimir Poljanov (1899-1988), Georgi Rajčev (1882 - 1947), Čavdar Mutafov (1889-1954) Contrary to its generally innovative potential for Bulgarian literature, the phenomenon called Bulgarian diabolism has been a marginal one from the point of view of literary discourse. The interest of postmodern writers and reviewers has given rise to accentuating some of the partial aspects of the works of Svetoslav Minkov, Vladimir Polyanov, Georgi Raychev and Chavdar Mutafov. However, with the exception of Thomas Martin's monograph Der bulgarische Diabolismus. Eine Studie zur bulgarischen Phantastik zwischen 1920 und 1934, published in 1993, works explicating the nature of the phenomenon in Bulgarian literature have been missing. Due to their novelty and impurity, the syncretic writings of Bulgarian diabolists, blending fading individualistic modernist tendencies together with elements of romantic fiction of horror in the generally expressionist roots of their works, were a phenomenon difficult to rank for their...