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I denna studie genomförs en normkritisk textanalys av ett urval av Joakim Bergs texter i syfte att beskriva hur normer om etnicitet och trostillhörighet uttrycks. Vidare har studien en didaktisk funktion och syftar till att belysa hur musiklyrik kan fungera i svenskämnets critical literacy-utvecklande undervisning. Delvis för att undersöka hur texterna kan utveckla elevernas ämneskunskaper i svenska, delvis för att studera hur texterna kan utveckla förmågor relaterade till läroplanens demokratiuppdrag. Materialet för studien består av låttexterna ”Sverige” (Berg 2002), ”Våga vara rädd” (Berg 2007) och”Tennsoldater” (Berg 2016) vilka normkritiskt analyserats med fokus på bildspråks och symbolers relation till normer knutna till etnicitet och trostillhörighet. Resultatet visar att samtliga texter belyser de studerade normerna, bland annat genom bildspråk och symboler som beskriver invandring, invandringspolitik, orättvisor samt bemötande av personer utanför normen. Textanalysens resultat, i relation till gymnasieskolans styrdokument, visar att det finns stor potential för att Bergs musiklyrik kan utveckla gymnasieelevers critical literacy.

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L’objectif principal de cette thèse est de postuler, pour l’étudier, la série culturelle des « chansons lumineuses écrites », soit une étude diachronique de la pratique consistant à écrire à l’écran les paroles d’une chanson, du XIXe au XXIe siècle. Ce faisant, notre second objectif, d’ordre théorique et méthodologique, est de mettre le concept de « série culturelle », forgé par André Gaudreault et précisé avec l’aide de Philippe Marion (1), à l’épreuve d’un cas particulier, et ainsi d’un ensemble d’exemples. Deux ensembles médiatiques donnent ses bornes chronologiques à la série culturelle : les plaques pour lanterne magique produites et commercialisées par la maison française Lapierre dans la deuxième moitié du XIXe siècle, et les lyric videos, des clips textuels officiels apparus sur YouTube vers 2010. Dans une première partie, on s’intéressera aux « vues sur verre en bande » Lapierre, des plaques de verre peintes à la main destinées à la projection domestique et illustrant des sujets populaires, dont des chansons. On documentera d’abord le fonctionnement des lanternes magiques en général et des séries de plaques commercialisées par les Lapierre en particulier, dans le but d’en proposer une méthode d’analyse esthétique pertinente. En retour, ce modèle pourra être éprouvé en s’appuyant sur le corpus spécifique des chansons illustrées Lapierre. Dans la deuxième partie, on montrera que la pratique des chansons écrites à l’écran ne disparaît pas au XXe siècle, et qu’une série culturelle se forme bel et bien, du XIXe au XXIe siècle. On s’intéressera donc à l’apparition des chansons lumineuses écrites selon trois types de médiums : lanterne de projection, pellicule cinématographique et vidéo. Par un dernier chapitre précisément consacré aux bouncing balls, on prouvera la permanence de notre série culturelle, sur le temps long et par-delà les médiums. Dans la troisième et dernière partie, on se penchera sur l’émergence des lyric videos, des clips officiels apparus vers 2010 sur YouTube, et illustrant surtout des chansons pop. Deux chapitres théoriques s’attacheront d’abord à révéler comment les lyric videos forcent à reconsidérer la théorie, l’histoire et l’esthétique des clips à l’ère de YouTube et des plateformes numériques. Trois chapitres s’efforceront ensuite de décrire et de comprendre le vaste corpus des lyric videos grâce à des approches comparative, générique puis génétique. (1) Voir par exemple : André Gaudreault et Philippe Marion, « Défense et illustration de la notion de série culturelle », dans A History of Cinema without Names. A Research Project, sous la direction de Diego Cavalotti, Federico Giordano, et Leonardo Quaresima (Udine : Mimesis, 2016), 60. / The main goal of this thesis is to examine a cultural series that we designate as “chansons lumineuses écrites” (“written luminoussongs”), hence producing a diachronic study of the cultural practice of writing the lyrics of a song on screen, from the 19th to the 21st century. In doing so, our second goal – of a theoretical and methodological nature – is to put the concept of “cultural series,” created by André Gaudreault and refined with the help of Philippe Marion1, to the test of a case study, while working with a set of relevant examples. Two sets of examples give this cultural series its chronological boundaries: the magic lantern slides produced and marketed by the French firm Lapierre, in the second half of the 19th century, and lyric videos, official textual music videos which appeared on YouTube around 2010. In the first section of this thesis, we will focus on the Lapierre “vues sur verre en bande” (“glass views in strips”), hand-painted glass slides intended for domestic projection which illustrate popular subjects, including songs. We will document the technical functioning of magic lanterns in general and the series of slides marketed by the Lapierre firm in particular, to propose a relevant method of aesthetic analysis of these slides. In turn, we will put this method to the test as we examine the corpus of the Lapierre illustrated songs. In the second section, we will show that the practice of writing song lyrics on screen did not disappear in the 20th century, and that a cultural series exists, from the 19th to the 21st century. We will then focus on three types of medium: magic lantern, film, and video. A fourth chapter will discuss the particular practice of the bouncing ball and, through this example, we will prove the permanence of our cultural series, over the long term, and beyond changes of medium. The third and final part of this work will examine the emergence of lyric videos, official music videos which started appearing around 2010 on YouTube, illustrating mostly pop songs. Two theoretical chapters will first discuss how lyric videos force us to reconsider the theory, history and aesthetics of music videos in the era of YouTube and digital platforms. Three chapters will then attempt to describe and understand the vast corpus of lyric videos, using comparative, generic and genetic approaches.

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This thesis examines the role of dialogic processes in representations of conversion narratives and expressions of poetic subjectivity across the works of four poets: Guittone d’Arezzo (c.1235-1294), Guido Guinizzelli (c.1230-1276), Guido Cavalcanti (c.1255-1300) and Dante Alighieri (1265-1321). The introduction proposes a definition of ‘dialogic processes’ drawing on theoretical models of performativity and dialogism. It presents the usefulness of these approaches to the analysis of narratives of conversion and accounts of subjectivity in poetry. Chapter 1 analyses Guittone’s conversion poetics in light of these processes and seeks to complicate the teleology of his narrative of self. Chapter 2 examines the poetry of Guinizzelli and Cavalcanti, first establishing the ‘poetic conversion’ of Guinizzelli in dialogue with his own and others’ poetry. It then examines Cavalcanti’s physiological performance of a polyphonic subjectivity and how far this poetic expression partakes in the dialogic processes previously discussed in relation to religiously inflected writing. Chapters 3 and 4 will explore the manifestations of these phenomena of dialogue and performance in Dante’s oeuvre with particular focus on the Commedia as a key site for intertextual interaction both with his own earlier texts and with the texts (and figures) of the other poets under discussion. These chapters will seek to reopen the teleological closure which Dante tries to impose on his vernacular predecessors, as well as on his own works. The weight of critical engagement with Dante’s predecessors has treated them as sources or reference points for Dante’s own praxis. I aim to consider Guittone, Guinizzelli and Cavalcanti on their own terms and in dialogue with one another before approaching Dante through these poets, thus reconstructing the networks of poetic dialogue in late medieval Italy, and situating Dante firmly within a dialogic tradition of narratives of self and conversion.

The song genre constitutes a significant part of J. B. Foertser's work (around 350 songs). In the Czech musical context, Foerster is along with Vítězslav Novák considered a founder of modern Czech song. Despite its unquestionable significance, Foerster's song output remains an unexplored area in musicology. The aim of this diploma thesis is to contribute to the body of scholarship devoted to Foerster by focusing on this area of his work, which has not received adequate critical attention. The main part of the thesis consists of detailed musical-textual analyses of the song cycle Šest písní na básně Puškinovy op. 161 (1937). Through the analyses, the thesis examines the composer's approach to the setting texts to music and points out the qualities of his work. The discussion gives an overview of Foerster's song output and outlines the main critical concerns in this area of his work. The last but one chapter of the thesis compares opus 161 with selected Foerster's song cycles from his previous work periods and an attempt is made to put the opus into the context of the composer's song output as a whole. In the conclusion, opus 161 is discussed in the context of the Czech and, more generally, European song productions.