<p>Cynthia Voigt is a well-known author of children’s books. She deals mainly with contemporary issues, although she also has written some fantasy. The Tillerman saga consists of 7 books. This essay deals with the first two, Homecoming and Dicey´s Song. It is the story of four abandoned young children hiking their way through America, looking for a home to settle down in.</p><p>The phrase “The American Dream” was first coined in 1931 by J. T. Adams in The Epic of America. It is still used today for example by President Bush, although now users have new definitions and connotations to it.</p><p>The painter Norman Rockwell has been called “The Painter of the American Dream”. This essay investigates whether the idea of the American Dream as portrayed by Rockwell could be found in the aforementioned two books by Voigt. The author of this essay also used Nickel and Dimed. On (Not) Getting by in America by B. Ehrenreich and Friare kan ingen vara by G. Rosenberg to exemplify the reality behind the American Dream.</p>

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<p>This paper examines the structure of The Golden Notebook and in which way it reflects thethemes in the novel. This paper also describes the context of the 1960`s in which a certaintype of ideas were developing and wants to place The Golden Notebook in this context. Finallythe paper investigates what can be understood by reading the novel as a part of that context.</p>

<p>In my paper I have analyzed what function the small characters have in Sven Nordqvists picture books with Pettson and Findus. By examining, amongst other things, their motion patterns, facial expressions and looks I have drawn the conclusion that their task is to strengthen both the readers feelings and the feelings that the characters in the books carry.  My analysis is rooted in a narrathological model and I have mainly used the concept syllepsis, which means a perusal of a story which is told on an anachronical level, existing beside the main story.  Further I have brought up the similarities between the books and both comics and the theatre genre and I have drawn the conclusion that the small characters also have a function as guides for the illustrations and help children develop their visual reading ability. This is important for the childrens ability to better handle the increasing amount of pictures that are presented to them through for example Internet or TV. It can also trigger an independent interest in literature in cases where the text and the authority of the adult reader have been undermined.</p>

<p>Karin Boyes Crisis (Kris) was published in 1934 as a contribution to the contemporary ideas of moral issues, challenging the dominating traditionalism within the literature critisism.</p><p>With different kinds of stylistic procedures is Crises expressing a self which seeks to relieve itself from the repressing experience of Language. The text shows an attempt to create meaning beyond the conventional system of linguistic signs, beyond the tradition of literature.</p><p>The focus in the essay is the self; the self is the basic structure and the theme of the text. Crisis shows it’s self-assuredness and points out a dialogue with the nietzschean philosophy. Nietzsche claims that the truth is a rhetorical creation, something which the language produces in the will of power. He expresses this standpoint with an effective simulate: the metal. My essay points out how this symbolic element functions in the text. The narrative structure leads to a solution of Malin’s, the protagonist’s, crisis: the dialogical structure of rebirth. The ritual pattern leads the protagonist to confront the inner Mother, a discussion taking it’s stand in Julia Kristeva’s psychoanalytical theory. This structure is set to redraft and expose the linguistic bound to a dualistic gendered system. It also brings out the sensual and the passion as a part of the linguistic structure.</p><p>The analysis reveals a process where Malin seeks the solution in “Siv”. The narrative of Crisis is made up of sections to illustrate Malin´s inner struggle against the traditionalism, the religious system and the inner longing for passion. For Malin the transformation is initiated by the passion for Siv, a fellow student, and this passion confirms Malin´s new perspective on the world. “Siv” is formulated as a metaphor for a new sight and a new voice — the sight and voice of the self.</p><p>On the meta-level is the passion formulated as a passion for creation, between the text and the reader. The novel ends in the creation of the artistic self—the artist-as-woman.</p>

<p>The purpose with this essay is to illustrate the problematical mother-daughterrelation in Mar-gareta Garpes drama/play “To Julia” through a psychoanalytic and philosophical perspective. To get a deeper understanding for the relations between mother and daughter, and the kind of motherhood that Gloria is practising in the play I have used a hermeneutic method in search for answers to the questions: Why does Gloria take a position as a so called friend or sister in the interaction with her daughter Julia? Why is not mother Gloria capable to be mature, caring and nursing in the interaction with Julia? </p><p>Through Gloria Margareta Garpe is giving me possible answers: Gloria is still seeing herself as a rejected and lonely child. The role of the daughter Julia in her mother’s life is to fill an empty space that was created in Gloria’s adolescence when she experienced the same feelings as Julia in present time in the play. The same confused mix of Julia’s and her mother’s feel-ings and needs, Gloria felt in her own childhood. </p><p>How a woman turns out as a mother depends on a variety of factors. Mature, caring mother-hood is an act of awareness, responsibility, moral, reflection and adaptation. This can lead to the kind of freedom that de Beauvoir refers to as the ambiguous “reality” meaning the “exis-tence”. The mother who sees her child as a friend or sibling has not emancipated herself from a symbiosis with her own mother. Margareta Garpe illustrates in practise in the play “To Julia” both de Beauvoir´s and Stern’s theories. According to my own interpretation Julia has not yet emancipated herself from her mother Gloria in the end of the play. But her understand-ing for Gloria’s motherhood has increased through their confrontations in the play. </p>

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<p> </p><p>Syftet med uppsatsen är att undersöka hur svensklärarstudenter ställer sig till en fastställd nationell kanon, vilken litteratur de vill förmedla till sina framtida elever samt vilka faktorer som påverkar vid texturval.</p><p>Undersökningen utgörs av en kvalitativ studie där den halvstrukturerade forskningsintervjun använts som metod. Fyra svensklärarstudenter, två manliga och två kvinnliga, har intervjuats enskilt och spelats in. Det låga antalet informanter förhindrar att en generalisering görs.</p><p>De teoretiska ingångarna innefattar debatten om kanon i media, där olika sidor lyfts fram, samt hur kanon tog sig uttryck i skolan förr och hur den gör det i dagens skola. Till sist belyses problematiken kring kanon, och frågan lyfts om vem som egentligen ska bestämma den.</p><p>Undersökningen visar att svensklärarstudenterna inte ställer sig positiva till en litteraturlista på nationell nivå, utan att de vill förmedla blandad litteratur som eleverna kan relatera till. I undersökningen nämnde svensklärarstudenterna att man som blivande lärare måste ha ett klart syfte med sin litteraturundervisning, och att det kan legitimera i stort sett all litteratur. Att svensklärarstudenternas egna läserfarenheter lyser igenom i deras lärarroller, är något som kan urskiljas i undersökningen.</p><p> </p><p> </p>

<p>We read different kind of texts every day. We can for example choose to read a book or to watch a film. While we read we can receive and interpret texts. That’s means, for example, that we can have different envisionments about the drama and the film based on it.</p><p> </p><p>Based on Langer’s reception theory about “envisionments”, I’ve wanted to examine and clarify the differences and similarities of envisionments between two texts. I have mainly examined and focused on <em>Romeo and Juliet </em>as drama and film. My study is comparative and qualitative. The background for my examination is found in “a broader concept of text” as described in School Curriculum – Swedish for upper secondary school, and the research of Olin – Scheller and Johansson.</p><p> </p><p>According to the conclusions in my study we can have varying conceptions of different texts as readers. The result of my study has shown that the interpretation and our envisionments could be different and depends on how the text is narrated. Envisionments in a drama text depend on the images we create without ourselves while reading the text. The drama can also be seen on a theatre and then can our envisionments depend on how it is presented by the theatre actors.  In the film text our envisionments depends on the visualisation, sound and sound effects, colours and perspective of camera etc</p>

<p>The purpose of this essay is to identify the various sender/receiver pairs from C.S. Lewis’s novel <em>The Screwtape Letters </em>and, once identified, to examine these pairs within the context of the concept of a doctrine of universal values which is expressed in Lewis’s <em>The Abolition of Man. </em>For the sake of clarity and simplicity<em> </em>the essay begins with a definition of terms and concepts that will be used throughout, including basic terms used when discussing a communicative act: <em>sender, receiver and message</em>. I then explain the essays central concept which is taken from another one of Lewis’s works <em>The Abolition of Man </em>regarding a doctrine of objective value.<em> </em>The idea that a set of universal values exists is often central to secular writing and C.S Lewis, a Christian apologist, makes it clear that he believes that there exists an ethical way of living that is common to all men, Christian and non-Christian alike. He dubs this set of basic morals the <em>Tao. </em></p><p>The various senders from <em>The Screwtape Letters</em> are then identified, beginning with the central character of Screwtape and moving in concentric circles outwards through Wormwood, the Enemy and his angels and ending with the reader/writer allegory wherein the sender is identified as the writer, Lewis. Textual evidence is given in each scenario to reveal whether these senders are aware of a doctrine of moral values and whether, in accordance to Lewis’s explanation of what he calls <em>speaking from within the Tao</em>, the various senders speak and act in order to teach that set of values to others.</p>