At the turn of the nineteenth century in England, the Gothic novel was extremely popular for its stories of ghosts, mysterious circumstances and of course, the “damsel in distress”. These novels depicted such women as virtuous heroines, women whose chastity, perseverance in the face of adversity (often brought about by a threatening male figure) and innocence made them models for female readers. However, such depictions of female virtue encouraged readers to associate positive female behaviour with suffering. Charlotte Dacre choose to challenge these beliefs by writing about heroines who attempted to understand and control their sexuality and their lives, regardless of societal mores. However, while Dacre writes of such women, her heroines always end up punished in some way, condemned to a life apart from the outside world by being shut away in convents, or succumbing to death. Comparing Dacre’s work to novels by Ann Radcliffe and Matthew Lewis reveals her important contribution to English literature from a feminist perspective; however, it is conceded here that Dacre ultimately cannot envision women who can free themselves from accepted beliefs of virtue. Her heroines’ destinies seem the same as those of her contemporaries: to suffer. Still, her courage in writing about such heroines makes her a remarkable writer, and important to a feminist study of Gothic literature. / February 2006

During spring 2007, I Matilda Lindblom, undertook my Bachelor Degree project in Furniture Design. The supervisors were Agneta Stake at Nola in Stockholm and Leo Jóhannsson, teacher and examiner at Carl Malmsten CTD in Stockholm. The project was based on three elements: • Cooperate together with a producer for professional supervision • Learn to work from a given design brief. • To learn more about industrial production • Learn more about furniture for public areas I contacted a furniture producer called Nola AB, in Stockholm, who became my work partner during this project. The asked me to design a piece of furniture where you can sit and work with a laptop on. The target was for public areas, for example in parks, malls, or at airports. In cooperation with Nola, my ambition was to develop this piece of furniture that was the answers on their wishes and demands. This product should be a complement to their selection and strengthen their trademark. The collaboration resulted in a chair with a surface connected, where you can work with a laptop on. The peace of furniture is suitable for both inside as outside, and can be places alone or with several others.

<p>Abstract</p><p>During spring 2007, I Matilda Lindblom, undertook my Bachelor Degree project in Furniture Design. The supervisors were Agneta Stake at Nola in Stockholm and Leo Jóhannsson, teacher and examiner at Carl Malmsten CTD in Stockholm.</p><p>The project was based on three elements:</p><p>• Cooperate together with a producer for professional supervision</p><p>• Learn to work from a given design brief.</p><p>• To learn more about industrial production</p><p>• Learn more about furniture for public areas</p><p>I contacted a furniture producer called Nola AB, in Stockholm, who became my work partner during this project. The asked me to design a piece of furniture where you can sit and work with a laptop on. The target was for public areas, for example in parks, malls, or at airports.</p><p>In cooperation with Nola, my ambition was to develop this piece of furniture that was the answers on their wishes and demands. This product should be a complement to their selection and strengthen their trademark.</p><p>The collaboration resulted in a chair with a surface connected, where you can work with a laptop on. The peace of furniture is suitable for both inside as outside, and can be places alone or with several others.</p>

At the turn of the nineteenth century in England, the Gothic novel was extremely popular for its stories of ghosts, mysterious circumstances and of course, the “damsel in distress”. These novels depicted such women as virtuous heroines, women whose chastity, perseverance in the face of adversity (often brought about by a threatening male figure) and innocence made them models for female readers. However, such depictions of female virtue encouraged readers to associate positive female behaviour with suffering. Charlotte Dacre choose to challenge these beliefs by writing about heroines who attempted to understand and control their sexuality and their lives, regardless of societal mores. However, while Dacre writes of such women, her heroines always end up punished in some way, condemned to a life apart from the outside world by being shut away in convents, or succumbing to death. Comparing Dacre’s work to novels by Ann Radcliffe and Matthew Lewis reveals her important contribution to English literature from a feminist perspective; however, it is conceded here that Dacre ultimately cannot envision women who can free themselves from accepted beliefs of virtue. Her heroines’ destinies seem the same as those of her contemporaries: to suffer. Still, her courage in writing about such heroines makes her a remarkable writer, and important to a feminist study of Gothic literature.

At the turn of the nineteenth century in England, the Gothic novel was extremely popular for its stories of ghosts, mysterious circumstances and of course, the “damsel in distress”. These novels depicted such women as virtuous heroines, women whose chastity, perseverance in the face of adversity (often brought about by a threatening male figure) and innocence made them models for female readers. However, such depictions of female virtue encouraged readers to associate positive female behaviour with suffering. Charlotte Dacre choose to challenge these beliefs by writing about heroines who attempted to understand and control their sexuality and their lives, regardless of societal mores. However, while Dacre writes of such women, her heroines always end up punished in some way, condemned to a life apart from the outside world by being shut away in convents, or succumbing to death. Comparing Dacre’s work to novels by Ann Radcliffe and Matthew Lewis reveals her important contribution to English literature from a feminist perspective; however, it is conceded here that Dacre ultimately cannot envision women who can free themselves from accepted beliefs of virtue. Her heroines’ destinies seem the same as those of her contemporaries: to suffer. Still, her courage in writing about such heroines makes her a remarkable writer, and important to a feminist study of Gothic literature.

I detta arbete analyseras föräldrarna herr och fru Vidrigsson i boken Matilda av Roald Dahl (1990). Föräldrarna analyserades genom att tolka, förstå och förmedla vilket är ett hermeneutiskt perspektiv. Syftet med analysen var att få vetskap om hur föräldrarna gestaltas, vilka normer de bryter och vad deras funktion var i boken. Bakgrunden till arbetet ligger i att jag själv uppskattar boken och att jag tidigare hört både bra och dåliga åsikter om Roald Dahl och hans karikeringsteknik. Även för att Roald Dahl har många olika böcker som är fantastiska att arbeta kring i skolan för alla olika åldrar.

Abstract The purpose of this study is to analyze and find explanations in literature for the gender-controlled dynamics contained in the selected quotations, using the theoretical starting points of the essay and under the theme power structures between men and women. The analysis draws of theories of gender, feminism, power and underlying linguistic factors that make, and in what way, the message reach the reader. The study has focused on three excerpts from the books of Margareta Strömstedt Jag skulle så gärna vilja förföra dig – men jag orkar inte (I would love to seduce you - but I can't cope) and Natten innan de hängde Ruth Ellis och andra berättelser ur mitt liv (The nigth before hanging Ruth Ellis and other stories from my life), and an excerpt from the book Klubben (The Club) of Matilda Gustavsson. The analysis explores texts that describe sexual assaults and reveals positions of power and male dominance. Not only male physical violence, even social norms and social power relations prevent women from resistance. The texts express female frustration and discontent about having to accept being an object of male dominance.

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Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This study comprises a comparative visual analysis of three picture books, illustrated by Steven Kellogg, Posy Simmonds and Edward Gorey. The illustrators reinterpret the cautionary tale, Matilda, who told lies and was burned to death by Hilaire Belloc (1908). Not only does this study present a brief historical overview of the genre but it also interrogates the manner in which different styles of illustration underscore the pedagogical didactic narrative. The visual interpretations of these three illustrators are compared in order to establish whether or not they have succeeded in sustaining the subversive or grotesque elements of this cautionary tale. Belloc’s narrative as well as the illustrations are analysed in terms of gender. I discuss my own version of Belloc’s cautionary tale as a parody of this tale that serves to exaggerate the sometimes overt gendering of girl characters in cautionary tales. / AFRIKAANSE OPSOMMING: Hierdie skripsie behels die visuele analise van drie verskillende prenteboeke, onderskeidelik geillustreer deur Steven Kellogg, Posy Simmonds en Edward Gorey. Al drie illustreerders bied ʼn visuele herinterpretasie aan van die vermaan-vers Matilda, who told lies and burned to death deur Hilaire Belloc. Die skripsie bied nie net ʼn geskiedkundige oorsig oor die genre nie, maar ondersoek die manier waarop verskillende illustrasie-style die opvoedkundige, didaktiese narratief onderstreep. Die illustreerders se prenteboeke word vergelyk en daar word vasgestel of hulle daarin geslaag het om die subversiewe en selfs groteske elemente in hierdie vermaan-verhaal te behou. Belloc se narratief en die illustrasie daarvan is ook in terme van gender geanaliseer. Ek bespreek my eie weergawe van Belloc se vermaan-verhaal, wat ek aanbied as ʼn parodie om die soms duidelike “gendering” van meisie-karakters in vermaan-verhale te oordryf.

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