<p>Trough the analyses of three young contemporary Swedish and Norwegian poets, who all in one way or another work with the language as material, I will circulate around the term language materialism. Each poet has his or her specific distinctive feature wich makes them three completely different poets. But they are all challenging the borders of literature and even the grammatical laws of language. Apart from the analyses I sketch an historical line between the predecessors of the experiments with the poetic language in the past, starting with Mallarmé, and the experiments of today. My essay will in conclusion discuss the language poetry in a wider philosophical point of view, connected to Derrida and Wittgenstein.</p><p>The first analysis introduces the author and artist Johannes Heldén through his debute poetry collection Burner. Heldéns way of combining a rather abstract intellectual and theory based form with graffiti as the main topic, results in a both direct and deep questioning of the structures of language and text. Close to Heldéns theme I see the thoughts of the french thinker Jacques Derrida, who also becomes the main point of departure for my own analysis. An especially important source for me has been Derrida’s essay Schibboleth, which forms itself to an introduction to the deconstruction theory through a careful reading of the poetry of Paul Celan. In this book we find a few terms which have been valuable in contact with the three poets I´ve chosen for this essay. The terms are: Crypt, ashes, date and wound (in my analyses wound also transforms to scars and marks or tracks). The most important meaning of these terms are the way in which Derrida sees the written word as always included in a play of references and meaning. As soon as we arrange words on a piece of paper some of the words will start to point backwards in time, other will point towards the future and many will as well indicate several contemporary directions the moment they are written. Text is in this sense not metaphysics, it is rather included in a play of meaning. Significant is also how text is doomed to encrypt itself in a way that leaves a wound that insinuates that here lays a hidden meaning. Hidden and impossible to trace. Especially in my analysis of Burner these terms have been suitable. Heldén creates a world underground, below the train tracks, which hide a world of graffiti. The graffiti in the normal, outside, world are often fragmentated, sometimes even wounded by the hands of humans. The picture of the cave full of language becomes the main focus in my analysis. The second analysis deals with the latest poetry collection of the Norwegian author Ingrid Storholmen, Skamtalen Graceland. The leading feature of this book is Storholmen’s way of showing the language’s visuality using different fonts and formations as well as marking a few words so that a scarred text appears.</p><p>The last analysis forms a close look at the poet Anna Hallbergs latest poetry collection På era platser. Hallberg has been a frontal figure for the genre of language poetry in Sweden. In connection to this analysis the thoughts of the early Wittgenstein becomes interesting, wherefore I also expand the discussion to include even some of his thoughts. The new and interesting point of view for the contemporary langauge focused poetry is the close contact to philosophy that manifests itself on the pages. Often it seems to me as if the poets of today wanted to contribute with a comment to the philosophical langauge debate from within the topic of the same debate, that is from the inside of poetry itself.</p>

The essence of literature – it’s voice, it’s meaning– has always been scrutinized of interest to readers and theorists. The language in itself has the power to revolt against and undermine current and dominant hierarchies. This language can also be of a passive nature, accepting existing norms and dichotomies. This paper has the ambition to examine the language, the voice, of Clarice Lispector in her novel A Hora da Estrela (The Hour of the Star). The theoretical horizon from which I will read The Hour of the Star is that of Hélène Cixous, which can be expressed through the term écriture féminine. Écriture féminine suggests a way of writing that revolts against dominating hierachies and, at the same time, rewrites oppositions and dichotomies. This way of writing, whatever associations and delimitations it’s name will invoke, is not available for one sex only; the sex that this writing refers to is that of the text. Thus both men and women can express écriture féminine, and as Cixous says, Jean Genet and Franz Kafka are examples of this although Clarice Lispector is the one, in Cixous’ opinion, who best expresses this feminine writing. In my reading and writing I will focus on the meta-fictive element in A Hora da Estrela, I hope to show that this element operates in many different ways, on different levels. This I will achieve by exploring the way in which Lispector reveals the relation to the other; a text, a person, language, the subject. My thesis is that Lispector practices what Cixous theorizes. Another point I want to make is that Lispector expresses in opposition to describe. This is related to the close relation between writing and body, and in the end writing and reading. The relation between reading and writing is a question of the nature of the text and the essence of writing. The writing is in A Hora da Estrela described as a problematic venture, discussing the role of the author and the meeting with the other. This aspect goes as far as questioning the entire relation to tradition, gender, literary canon. In conclusion: The purpose is to do a reading of and with, both Lispector and Cixous, in order to find the essence and expression of écriture féminine in the novel A Hora da Estrela.

This study analyses the german writer and artist Unica Zürn´s novel, The Man of Jasmine,1970 (Jasminmannen). Zürn was mostly active in the surrealist avantgarde in Paris during the 1950ies - and 60ies. The male surrealist images of women was polarised in to the godlike, child and the erotic, convulsive object. The mythologizied woman was the muse of men´s creativity. But still there were many women artists who participated in the movement, so clearly there was something in surrealism that attracted women. One of them was Unica Zürn. This study concerns how the protagonist in The Man of Jasmin uses, but modifies the male surrealist images of women and makes a resistance against the construction of women. And by that, she creates a position of subjectivity. I have applied the theory of Luce Irigaray and her conception, "mimicry". She means that it is almost impossible for women to take a position as a subject in the male dominant order because it is so coherent. Women has always been defined as mans other in discourse. But one solution for women is to interpret and repeat how the femininity is defined in discourse and through exaggeration or parody show what has been hidden. To show that women are belonging to another place.

The essay is a text centred study of ten Young Adult Novels, in which Internet plays an essential part. The structure is put into light out of used narrative techniques of how to create stories and its construction elements. I compare the ten Young Adult novels to each other. My aim is to analyze the functions of the Internet motive in the chosen novels, using different approaches, and enlighten it with concerns to the new phenomenon that Internet is in society. Consequently the essay will also have a mimetic touch to it. The ten novels that I base the analysis on are written of both med and women and have both male and female as main fictive persons, and are from different parts of the world. The novels are published between 1997 and 2002. The analysis is divided into the categories that I have found characteristic for the Internet based Young Adult novel. My study shows that the authors of these Young Adult novels remind of each other in their ways of using Internet as a literary form. It also points out all the possibilities that Internet brings with it when it is being used as a tool in the making of a story, sometimes representing familiar literary motives in a more modern way.

This essay explores the novel Charlie by Margareta Suber (1932) through lesbian narrative theory. The result is a revealing on how the lesbian main character can be established as a lesbian subject against the male and heterosexual narrative; how she escapes a simple male positioning in the narrative, how she subverts categorisation, how she parttakes in female bonding, and how she disturbs heteronormativity.

This study examines four short stories- “Gudarnes like”, “Vänner”, “Lolo” and “Kvinnor” - in a novel called Upptäckter written by Ulla Bjerne in 1918. My aim has been to study whether Bjerne in these stories writes from a New Woman- position. The New Woman novel as a genre flourished around the end of the 19th and the beginning of the 20th century. I have also studied whether Bjerne in these short stories uses a melodramatic style. Drawing on arguments from, among others, Peter Brooks, Thomas Elsaesser and Richard Murphy, I have focused on the melodrama in her text. My conclusion is that Bjerne is talking about women’s struggle – the impossibility of a combination of work and love- and how the men are hopelessly behind. The aim to use melodrama could be that it works as a strategy, to make a strong criticism about certain times. My point is that by using melodrama Bjerne succeeds to picture a new subjectivity for women and she also succeeds to reflect the conflicts through women’s own experience. The theme is the same in all the four stories, but I have found that in only three of them, Bjerne is using melodrama as a tool. In one of them, she uses parody instead as a way of talking about the New Woman and her struggle.

No description available.

Trough the analyses of three young contemporary Swedish and Norwegian poets, who all in one way or another work with the language as material, I will circulate around the term language materialism. Each poet has his or her specific distinctive feature wich makes them three completely different poets. But they are all challenging the borders of literature and even the grammatical laws of language. Apart from the analyses I sketch an historical line between the predecessors of the experiments with the poetic language in the past, starting with Mallarmé, and the experiments of today. My essay will in conclusion discuss the language poetry in a wider philosophical point of view, connected to Derrida and Wittgenstein. The first analysis introduces the author and artist Johannes Heldén through his debute poetry collection Burner. Heldéns way of combining a rather abstract intellectual and theory based form with graffiti as the main topic, results in a both direct and deep questioning of the structures of language and text. Close to Heldéns theme I see the thoughts of the french thinker Jacques Derrida, who also becomes the main point of departure for my own analysis. An especially important source for me has been Derrida’s essay Schibboleth, which forms itself to an introduction to the deconstruction theory through a careful reading of the poetry of Paul Celan. In this book we find a few terms which have been valuable in contact with the three poets I´ve chosen for this essay. The terms are: Crypt, ashes, date and wound (in my analyses wound also transforms to scars and marks or tracks). The most important meaning of these terms are the way in which Derrida sees the written word as always included in a play of references and meaning. As soon as we arrange words on a piece of paper some of the words will start to point backwards in time, other will point towards the future and many will as well indicate several contemporary directions the moment they are written. Text is in this sense not metaphysics, it is rather included in a play of meaning. Significant is also how text is doomed to encrypt itself in a way that leaves a wound that insinuates that here lays a hidden meaning. Hidden and impossible to trace. Especially in my analysis of Burner these terms have been suitable. Heldén creates a world underground, below the train tracks, which hide a world of graffiti. The graffiti in the normal, outside, world are often fragmentated, sometimes even wounded by the hands of humans. The picture of the cave full of language becomes the main focus in my analysis. The second analysis deals with the latest poetry collection of the Norwegian author Ingrid Storholmen, Skamtalen Graceland. The leading feature of this book is Storholmen’s way of showing the language’s visuality using different fonts and formations as well as marking a few words so that a scarred text appears. The last analysis forms a close look at the poet Anna Hallbergs latest poetry collection På era platser. Hallberg has been a frontal figure for the genre of language poetry in Sweden. In connection to this analysis the thoughts of the early Wittgenstein becomes interesting, wherefore I also expand the discussion to include even some of his thoughts. The new and interesting point of view for the contemporary langauge focused poetry is the close contact to philosophy that manifests itself on the pages. Often it seems to me as if the poets of today wanted to contribute with a comment to the philosophical langauge debate from within the topic of the same debate, that is from the inside of poetry itself.

This essay investigates how the author Oline Stig creates identities for her main characters in three short stories; Midsommar, Polly Maggoo and Den längsta dagen from the collection Den andra himlen (2007). My investigation is based on concepts chosen from psychology and narratology: First, Jonas Stier’s definition of human identity. In his definition he focuses on a person’s social context. He also considers identity formation as an ongoing, ever- changing process. Second, Gerard Génette’s and Maria Nikolajeva’s concepts concerning focalization and the perspective and voice of narration. My analysis tries to answer the question if the perspective of narration has any effect on the readers understanding for the characters’ processes of identity. I have found that other aspects than the perspectives of narration are more important in portraying a fictional character in these short stories. For example: in one of the stories - Polly Maggoo – narration is part of the identity forming process: the main character is influenced by and portrayed via the stories told by a friend, and later, via the stories she tells another friend about herself. The essay also contains a short presentation of Oline Stig and gives a view of the development of the short story-genre in the 1900`s.

The paper directs to introduce the turkish literary tradition to an fairly unknown european audience, as well as to present a turkish poet called Orhan Veli. Since there is hardly any literature written within this subject in either swedish or english I have come to the conclusion that the europeans have not yet been subjected to a discussion of this nature. For this reason my main task has been to gather and compose all that has already been written within this matter. I have chosen not to dig deep into such an unexploared subject, but rather offer different types of entries with which further research can be pursued and built upon. The early literature in Turkey consisted mostly of imitations of the well established arabic- and persian traditions. Because of that the turkisk modernism came, in comparison to the rest of Europe, relatively late. The quest for their own and original style first came with the modernists. For this reason I’ve chosen to stress turkish modernism and since Orhan Veli is given credit for it, his poetry. The modernistic breakthrough is explained through the poetic diction of Orhan Veli and the remaning members of a literary group called Garip. The reading of Velis poetry will be historically contextualized. Not only will his poetry be read in the light of his native literature history but also in comparison to other poets of his time.