Skuldbegreppet används inom olika områden. I Bibeln och andra mytologiska berättelser finns temat skuld beskrivet. Inom psykologin vrider och vänder man på skam- och skuldbegreppet inom flera olika inriktningar som psykoanalysen och existenspsykologin.  Syftet med denna uppsats i en komparativ litteraturstudie är att undersöka och belysa emotionen skuld ur olika perspektiv, och söka förståelse kring hur bearbetning av skuld påverkas av respektive perspektiv. Genom att jämföra tre samtida författare, Marianne Lerner, psykoterapeut som får representera psykologin. Harlan J. Wechsler, representerar judisk teologiskt perspektiv, och Rollo May, psykolog, som får stå för den existentiella inriktningen. Emotionen skuld är en komponent i varje enskild människans liv, som var och en hanterar både på ett medvetet och ett omedvetet plan. Skulden samverkar med andra emotioner och har en positiv och en negativ sida. Alla tre inriktningar har ett spänningsfält mellan temat god-ond som behöver internaliseras och samverka inom psyket i varje enskild människas liv. Förmågan att ta ansvar sker genom acceptans (existentialismen/May) integration av skuld (psykologin/Lerner) och att göra bättring (judisk teologi/Wechsler).

Fondée sur l’approche proposée par Philip Auslander (2004), cette thèse est centrée sur la construction du personnage artistique de la chanteuse française Marianne Oswald (1901-1985), la relation dialogique qu’elle entretient avec ses publics et sa présence à travers la mémoire et l’histoire culturelle. Aujourd’hui méconnus, son non-conformisme, son style vocal parlé-chanté, sa nature engagée et sa force polarisante inspirent une importante élite artistique à Paris et lui valent le titre d’artiste la plus discutée des années 1930 dans la presse. À travers les concepts d’authenticité et de féminités, tels que relevés dans la presse artistique, l’autobiographie de la chanteuse et son répertoire musical, cette recherche explore l’incidence des rapports de réciprocité qui s’exercent entre le personnage, le public et la mémoire sur la réception et la création d’une multiplicité de représentations du personnage artistique et suggère que Marianne Oswald a tenu un rôle transformationnel dans l’histoire musicale et culturelle française.

<p>Syftet med den här uppsatsen är att ge en bild av hur religion med avseende på socialisation, moral och riter i en ömsesidig påverkan, speglar och inverkar på konstruktionen av genus i Marianne Fredrikssons bok, <em>Anna, Hanna och Johanna. </em>Utifrån romanen analyseras hur romangestalterna förhåller sig i sina tankar och sitt praktiska liv till religiositet. Studien begränsas till socialiseringens inverkan, förhållandet till riter och romangestalternas etiska resonemang.</p>

Syftet med den här uppsatsen är att ge en bild av hur religion med avseende på socialisation, moral och riter i en ömsesidig påverkan, speglar och inverkar på konstruktionen av genus i Marianne Fredrikssons bok, Anna, Hanna och Johanna. Utifrån romanen analyseras hur romangestalterna förhåller sig i sina tankar och sitt praktiska liv till religiositet. Studien begränsas till socialiseringens inverkan, förhållandet till riter och romangestalternas etiska resonemang.

This thesis firstly aims at discussing the early works of American poet Marianne Moore (1887-1972) through the bio-philosophical perspectives developed since the investigations of Estonian Jacob von Uexküll (1864-1944). The study elucidates Uexküll’s research on the web-like forms of life that is the Umwelt of animals and Moore’s creation of poetic environments. Such investigations provide a basis for the analysis of Moore’s animals and environments in dialogue with Martin Heidegger’s (1889-1976) concepts of “poverty in world”, and “animal captivation”. Uexküll’s and Heidegger’s concepts are revised by Italian Giorgio Agamben (1942- ), who proposes that there is an openness in the state of being ontologically captivated, caused by interactional processes occurring within the environment. Subsequently, taking into account these same perspectives, this thesis offers a comparative study of Marianne Moore and Brazilian poet João Cabral de Melo Neto (1920-1999), engaging, respectively, her early poems with his book O Cão Sem Plumas [The Dog without Feathers], written in 1950. From the bio-philosophical perspectives previously discussed, this study focuses on moral and ethical stances addressed towards interpretations of the onto-ethological (Buchanan, 2008) nature of animals. The study analyses how both Moore and Melo Neto convey their ethical reflections and specific moral issues through expressions of nature and animal life, especially when they emphasise contexts of violence, misery and deprivation, either in material or conceptual respects, involved with the ontological and world-forming conditions of both animals and human beings. Therefore, the research will focus on their use of literary devices, such as allegories, and literary genres, such as fables, in order to develop both explicit and implicit dimensions of their poetry, thus providing a deeper understanding of the ontological status of animals and human beings.

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With evidence ranging from visual representations by scanning tunneling microscopes to the fluid and dynamic language of poetry, my research shows that we are shifting from a culture primarily based on ‘sight’ to one that is involved with ‘touch,’ metaphorically and literally speaking. Recent developments in theory and technology, especially quantum physics and post-structuralism, have redefined representation to encompass the necessary reflex of the representer. To be sure, my research has also found feminist and postcolonial criticisms to echo this theory: both have sought to challenge representations due to the objectivity normally attributed to the representer, the Cartesian logic of which quantum theory has destabilized. Thus, by reading poetry with a quantum theoretical lens, specifically the works of Gertrude Stein, Marianne Moore, Anne Carson, and Theresa Hak Kyung Cha, I show how ‘touch’ plays into our language, consequently affecting how we think through language. / Master of Arts / This is an essay on language – how we read language, where we go with language, and how language affects the way we think. Because poetry is an activity that first realizes the limits of language and then attempts to go beyond those limits, reading and writing poetically teaches us to use language to think in a different manner, what I propose to be by <i>touch</i>: a quantum manner. With respect to the field of Linguistics, I want to clarify that I am not saying our thoughts are wholly limited and determined by our language – the space of our minds are quite far-reaching, and it is quite possible to think whatever we want. What I am saying, however, is that language <i>habituates</i> how we think, and poetry reveals these habits in an attempt to break from them. Marilynne Robinson calls these habits our “little island of the articulable, which we tend to mistake for reality itself” (21). Thus I explore attempts at breaking linguistic, hence cognitive, habits with poetry through the writings of Anne Carson and Theresa Hak Kyung Cha. I use feminist, post-colonial, and post-structural theories to formulate a methodology that shows how we <i>touch</i> language and understanding through poetry, at the same time enacting this poetic through my own writing

Historically, women have not been "speaking subjects" but "spoken objects" in Western culture--the ground on which male-dominated constructions have been erected. In literature, women have been conventionally held as the silent and silenced other. Lyric poetry especially has idealized not only the entrenched figures of masculine subject/feminine object, but poetry itself as the site of prophecy, vision, Truth. Most dramatically in lyric poetry then, the issue of women as subjects has been collapsed into Woman as object, that figure who has been the sacrifice necessary for the production of lyric "song" and the consolidation of the unified masculine voice. It has thus been difficult for women poets to take up the position of speaking subject, most particularly because of women's problematic relationship to Woman. Recent feminist theorists have explored female subjectivity, how women put into hegemonic discourse "a possible operation of the feminine." This dissertation analyzes that possibility in poetry as exemplified in the works of Emily Dickinson, Marianne Moore, and H.D. I contend that these paradigmatic American poets constitute speaking subjects in their poetry that both figure Woman conventionally and reconfigure it, i.e. subvert the stability of those representations, thereby disturbing our view. I argue that this double identification produces, in effect, a divided or split subjectivity that is enabling for the female speaker. As an alternative to the traditionally specularized figure of Woman then, such a position opens up distinctly counter-hegemonic spaces in which to constitute the female subject, rendering problematic readerly consumption of the image of Woman as a totality. I explore the attempts to represent women's difference differently--the tenuous accession to, rejection of, or play with the lyric "I" in these poets' works. Dickinson, Moore, and H.D. reconfigure Woman and inscribe female speakers as grammatically and rhetorically, but not necessarily visually, present, thereby frustrating patriarchal economies of mastery and possession.

Despite having a rather weak family connection to Ireland, the American modernist poet Marianne Moore (1887-1972) described herself in a letter to Ezra Pound in 1919 as ‘Irish by descent’. This thesis relates Moore’s claim of Irish descent to her career as a publisher, poet and playwright, and argues that her decision to shape an Irish inheritance for herself was linked with her self-identification as an American poet. Chapter 1 discusses Moore’s self-confessed susceptibility to ‘Irish magic’ in relation to the increase in contributions from Irish writers during her editorship of The Dial magazine from 1925 to 1929. Moore’s 1915 poems to the Irish writers George Moore, W. B. Yeats and George Bernard Shaw, which reveal a paradoxical desire for affiliation to, and disassociation from, Irish literary traditions, are scrutinized in Chapter 2. Chapters 3a and b discuss Moore’s ‘Irish’ poems ‘Sojourn in the Whale’ (1917) and ‘Spenser’s Ireland’ (1941). In both poems political events in Ireland – the ‘Easter Rising’ of 1916 and Ireland’s policy of neutrality during World War II – become a backdrop for Moore’s personal anxieties as an American poet of ‘Irish’ descent coming to terms with her political and cultural inheritance. Expanding upon previous chapters’ discussion of the interrelation of poetics and politics, Chapter 4 shows how Moore’s use of Irish sources in ‘Spenser’s Ireland’ and other poems including ‘Silence’ and the ‘Student’ reflects her quixotic attitude to Irish culture as alternately an inspiration and a tool for manipulation. The final chapter discusses Moore’s adaptation of the Anglo-Irish novelist Maria Edgeworth’s 1812 novel The Absentee as a play in 1954. Through this last piece of ‘Irish’ writing, Moore adopts a sentimentality that befits the later stages of her career and illustrates how Irish literature, rather than Irish politics, has emerged as her ultimate source of inspiration.

La critique littéraire et théâtrale a indiqué que le changement de la scène comique vénitienne de la moitié du XVIIIe siècle est le résultat de la réforme goldonienne. Cependant, sans rien ôter au rôle essentiel de Goldoni, le rapport pourrait être renversé : les bouleversements dans l’équilibre concurrentiel de la comédie vénitienne entre 1748 et 1753 provoquent la naissance d’exigences bien précises de la parte des directeurs de la troupe ou des propriétaires des théâtres ainsi que la capacité des poètes de s’affirmer comme « auteurs de comédies », de réagir et de réaliser sur le champ des dramaturgies nouvelles. Ce contexte produit un changement profond du genre dramatique, par rapport à la tradition du répertoire, sans une rupture véritable, mais à travers une régénération progressive. Il faut également souligner que ce contexte dérive du roman moderne, à travers des adaptations directes ou l’adoption de mécanismes du roman. La recherche désire comprendre le «pourquoi» de la naissance du goût romanesque dans la comédie vénitienne pendant les années plus significatives du renouvèlement comique (1748-1753) et préciser quelles ont été les impulsions essentielles qui ont su forger la proposition dramatique de Carlo Goldoni et de Pietro Chiari. Dans la première partie de la Thèse (Le contexte d’entreprise) nous avons examiné les principaux évènements des entreprises théâtrales comiques vénitiennes, c’est-à-dire de l’entreprise Medebach-Goldoni au Sant’Angelo, de celle de Vendramin au San Luca, pour terminer avec celle de Grimani au San Samuele et San Giovanni Grisostomo. La deuxième partie (Le texte romanesque) propose l’analyse et la comparaison de l’élément romanesque dans quelques œuvres de Chiari (La dilogie de Marianne) et de Goldoni (Pamela, I due gemelli veneziani, L’incognita, L’avventuriere onorato et Il bugiardo). / In the Venetian scene of the mid-eighteenth Century and therein theatrical picture in its complete transformation, a new repertorial proposition catches on, sealed it by critics as ''The outcome of the Italian Comic Reform''. The upheaval in the competitive balance between 1748 and 1753 has raised specific enterpreneurship necessities as also the right for poets to assert themselves as ''Authors of Comedies''. In this context takes place a profound dramatic renewal, which finds new strenght from the rampant model of the modern novel alongside the repertorial tradition, in order not to mark a rupture, but instead, a progressive regeneration from the inside. The primary concern of this research is to determine the reason why romance comedy emerged right in the years of the most significance of the comic renewal (1748-1753) and secondly to state what were the essential pressures of whom forged the dramatic proposal of Carlo Goldoni and Pietro Chiari. The first part of this research (The Business Context) is analysing the main vicissitudes of Comical theatrical Venetian Companies, such as:Medebach-Goldoni in Sant'Angelo, Vendramin in San Luca, Grimani in San Samuele and San Giovanni Grisostomo. The second part (the Romance text) depicts the analysis and comparison between the romance element in some works of Chiari (Il dittico di Marianna) and Goldoni (Pamela, I due gemelli veneziani, L'incognita, l'Avventuriere onorato e Il bugiardo).