The main aim of this study is to analyse the grotesque characterization of adults in four novels by Roald Dahl, from Michail Bachtin’s definition of the carnival-grotesque in Rabelais and his world. From this view I have examined how the conflict between children and adults is described in these books, and to what extent the grotesque motifs have a function in this conflict. For this purpose I have applied theories of the literature-grotesque by Michail Bachtin, and of the meaning and function and – in this context – the necessity of fright and horror in children’s fiction, in particular by Bruno Bettelheim and J.A. Appleyard. The result of the analysis suggests that the books contains obvious and distinct grotesque elements and that Dahl’s popularity among children, and opposition among critics, should be due to this elements. Taken together, these circumstances give cause for the epithet “subversive grotesques for children” for Roald Dahl’s children’s books, and that Dahl can be said to deconstruct the conventional perception of childhood.

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I uppsatsen är kunskapsteoretiska spörsmål av betydelse. Filosofen Ludwig Wittgensteins tankar om språk och mening utgör den teoretiska utgångspunkten. Vid läsning av Enqists roman "Boken om Blanche och Marie" redovisas tolkningsförslag på kärlekstemat utifrån den teoretiska bakgrunden och en politisk och social medvetenhet med rötter i 60-talets experimentella prosa. Genom ett läsarorienterat betraktelsesätt visas ett samspel mellan text och läsare och mellan form och innehåll.

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<p>Travel literature and especially the ”adventure story” has excited young British boys for over two centuries. However, it has also been a vehicle for the assertion of male dominance and European supremacy. The story of a British man who goes to the colonies, performs some test which is essentially a test of his manliness, and whose compulsory victory marks the end of the book, has been a central myth in colonial masculinity.</p><p>Through looking at three Anglo-Saxon male travel writers from the 20th century, this essay aims to study the different ways in which Western male identity is shaped against an Indian background. The novels analysed are Topee and Turban or Here and There in India by H.A. Newell, the Don Juan- tetralogy by Carlos Castaneda and Are You Experienced by William Sutcliffe. Whether the Self is defined against the Indian other; by identification with the Indian other, or through deconstructing the notion of an Indian other, and what role femininity plays, are the central themes of this essay. </p><p>Theory paramount to the analysis has been Ann McClintock’s discourse on the feminisation of the colonized country; Simon Gikandi’s assumption that imperialism was crucial in shaping British identity, and Gayatri Spivak’s notion of epistemic violence.</p>

<p>The aim of this essay is to get deeper into the mysteries of love as they manifest themselves as most open: in literature. I have studied the two French writers Claire Etcherelli and Françoise Sagan, both writing about love in the 50’s Paris. While Etcherelli’s love takes place between factory workers, Sagan’s scene is the upper middle class. My question is how love manifests itself in such similar but yet different surroundings: is love a class question? </p><p>Looking at the structure present in the novels and how the love story proceeds, I have discovered that although the conditions are fundamentally different, the structure is almost identical. This is itself an ideological fact. The structure shows that in both cases, love appears as a solution to an unsatisfactory situation. The man enters the novel when the heroine knows she needs change. With him, she then embarks on a project for change. This project implies for Sagan a journey towards nature and the dissolution of the Self, whereas for Etcherelli it means a greater involvement in the political struggle and the constitution of an identity. The journeys undertaken are therefore diametrically opposed, yet the way they are taken about, is the same. Both authors present a vision of love that is comparable to many of 20th century theorists. Whereas some theorists, e.g. Denis de Rougemont and Slavoj Žižek, claim that love essentially is a lie: it says one thing and wants another, it is actually the want of suffering or a power game, others such as Erich Fromm and Francesco Alberoni speak about it as a revolutionary movement towards social change and knowledge of the human soul. Both Sagan and Etcherelli support the latter view. Love is in their novels a metaphor for hope, it comes forth as a firm belief in the possibility of change, social as well as existential.</p>

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