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Flerspråkig litteratur är långt ifrån ett nytt fenomen, men forskningsområdet är fortfarande mycket underutforskat. Syftet med studien är att studera språkväxling i flerspråkig lyrik sett ur ett translanguaging-perspektiv. Metoden utgörs av en analysmodell för flerspråkig skönlitteratur som är inspirerad av såväl språkvetenskapliga som litteraturvetenskapliga studier. Materialet består av totalt nio diktutdrag från tre diktsamlingar av tre olika författarskap. Resultatet visade att språkväxlingarna fyller mångahanda funktioner såsom att göra dikterna flerdimensionella, att deras form särskilt genom sina oklara språkgränser har betydelse för diktinnehållet, och att flera paralleller kan dras till tankar inom translanguaging-konceptet i fråga om effektiv kommunikation, språklig kreativitet och skapandet av ett utrymme för translanguaging. Slutsatsen är att flerspråkig lyrik är mångfacetterad med många tolkningsmöjligheter och att ett translanguaging-perspektiv gav resultatet en djupare innebörd.

In Songs of Innocence and of Experience William Blake contrasts childhood and adulthood. This essay relates this to another prominent social issue in the collection, colonialism. This essay aims at answering the question of what happens when the child is black rather than white. By providing an analysis of how children in general are portrayed, followed up with a brief discussion of how Blake deals with colonial issues this essay sets the stage for a final concluding discussion about what happens when the two themes of childhood and colonialism meet. The discussion reveals that Blake is using irony to ridicule the contemporary polarized meanings of the words “black” and “white”. By doing this Blake makes the little black boy in “The Little Black Boy” the perfect symbol for criticising the contemporary issues of child abuse and colonialism in one single piece of poetry. / I Songs of Innocence and of Experience visar William Blake på motsättningarna mellan barndom och de vuxnas värld. Denna uppsats kopplar detta tema till kolonialism, en annan framstående social fråga som behandlas i diktsamlingen. Syftet med denna uppsats är att besvara frågan om vad skillnaden blir när det är ett svart barn istället för ett vitt som framställs i dikterna. Genom att först analysera hur barn i allmänhet framställs, följt av en kort diskussion om hur Blake hanterar problemet med kolonialismen leder denna uppsats fram till en avslutande diskussion kring vad som händer när två stora teman som barndom och kolonialism möts. Den avslutande diskussionen framhäver att genom Blakes användande av ironi så gör han den samtida polariseringen av orden ”svart” och ”vit” till åtlöje. Den svarta pojken i ”The Little Black Boy” blir Blakes perfekta symbol för att kritisera de samtida frågorna kring barns utsatthet och kolonialism i en och samma dikt.

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This essay examines how grief, melancholy and irony interact in the poetry collections Hej då, ha det så bra! (2003) by Kristina Lugn and Det här är hjärtat (2015) by Bodil Malmsten. The authorships have their similarities and differences when it comes to the themes and language of their poetry. In Malmsten’s collection of poetry, grief is more present than usual and for Lugn, the feeling of melancholy is much heavier in this collection of poetry compared to her previous ones. Although the poetry collections differ in theme, the feeling of grief and melancholy is common between them. The concept of irony is examined in the essay as an antipole to grief and if irony could help the authors poetic self get distance from their grief. In my examination of the concept of melancholia and irony, I have discovered that they differ between men and women. This is interesting when it comes to how women write poetry in the concept of irony and melancholia. This will be used in my essay to better understand how Lugn and Malmsten work within these themes. To explore grief and melancholy in the poetry, I will use Freud’s essay “The Mourning of Melancholia” (1917), Kristeva’s Black sun: depression and melancholia (1989) and also Karin Johannsson’s Melankoliska rum (2009) to give a clear history of the concept of grief and melancholia and the many aspects of it. / I denna uppsats undersöks hur sorg, melankoli och ironi samspelar i diktsamlingarna Hej då, ha det så bra! (2003) av Kristina Lugn och Det här är hjärtat (2015) av Bodil Malmsten.  Författarskapen har sina likheter och skillnader när det gäller dikternas stämning och språk. Diktsamlingarna skiljer sig även från författarnas tidigare verk. För Malmsten är sorgen mer närvarande än någonsin och hos Lugn är känslan av melankoli tyngre i denna diktsamling jämfört med tidigare diktsamlingar. Även om diktsamlingarna skiljer sig i tematik, finns ändå en gemensam känsla av sorg och melankoli. Begreppet ironi undersöks i uppsatsen som en motpol till sorgen, om ironin kan hjälpa till att distansera diktjaget från sorgen eller om ironin kan skapa ett behov att uttrycka sorgen, likt bekännelselitteraturen.  I min analys av begreppen melankoli och ironi har jag stött på att det skiljer sig mellan hur män och kvinnor skriver. Detta är intressant när det kommer till hur kvinnor skriver poesi inom begreppen ironi och melankoli, och detta kommer att användas i min uppsats för att få en bättre förståelse för hur Lugn och Malmsten arbetar inom dessa teman. För att utforska sorg och melankoli i poesi kommer jag att använda Freuds essä ”The Mournig of Melancholia” (1917), Kristevas Black sun: depression and melancholia (1989) och även Karin Johannissons Melankoliska rum:om ångest, leda och sårbarhet i förfluten tid och nutid (2009), för att ge en tydlig bild av begreppet sorg och melankoli och de många aspekterna av det.

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This master's thesis explores the feminine subject in thirteen poems by the Norwegian poet Inger Hagerup (1905–1985). In the poems, the women appear as historically inferior to men. Part of this is explained by motherhood, which is described as a bodily condition that suppresses the subjectivity of the self. On the other hand, the pregnant subject becomes a symbol of Hagerup's transgressive image of women in that it distances itself from a maternal essence, an essence which Simone de Beauvoir also rejects in her philosophy. My close readings shed new light on the poems by examining the woman, her body and her eros. I will show that thematically, Hagerup performs a lyrical renewal of female eroticism. In the course of the poems, the female subjects extend themselves out of their current situation, towards transcendence. This image of women correlates with Beauvoir, even though Hagerup in one of the poems formulates gender as a role one is born into, as opposed to Beauvoir's perspective which implies that identity is created through action: one becomes a woman. I show that in Hagerup's erotic poems, the subject's body often functions as an expression of the subjectivity ́s inner will and language. In line with the thoughts of Hélène Cixous, the women's speech emerges from the corporeal, red interior. Together with the male lover however, the subjects are rarely transgressive. The subjects constantly try to formulate words and shout out their speech. At the same time, the writing process gains significance for them. Lastly, I look at Hagerup's portrayal of female artists in the portrait poems "Emily Dickinson" and "Karin Boye", where the subjects in the portraits succeed in this textual creation.

At the centre of this study lies the question if normative gender thinking affects the way poetry gets reviewed and how the reviews are written, this in relation to both the gender of the reviewer and the poet. The study crosses three academic fields; gender studies, poetry and journalism, and is based on the cultural studies theory of media affecting and even creating the world around it. The study is based on two types of analysis. One quantitative analysis based on the thematic criticism theory about detail studies that shows bigger patterns, this analysis focuses on how the poet and his/hers work are being treated in the reviews in areas such as how much space they´re given in the newspapers, how they are named by the reviewer and the tendency to quote the reviewed work.  And one qualitative analysis based on the new criticism method of close reading, that focuses on the reviewers way of writing and how that may be connected with theories of gender differences, this both connected to the gender of the reviewers and the poets. The material chosen for this study are all the reviews that were published in the same newspapers and that reviewed two specific poetry works by two specific poets chosen with great sensibility to age and career so that their difference in gender would be the most significant difference between them. The works were chosen based on year of publishing, they were supposed to be published as newly as possible and as close to each other in time as possible. The works I ended up with were Dimman av allt (2001) and Svart som silver (2008) by Bruno K. Öijer and Silverskåp (2000) and Nu försvinner vi eller ingår (2007) by Birgitta Lillpers. The results of this study show several differences in how poetry is being judged and how poetry reviews are being written are connected with the gender of the poets and the reviewer. Lillpers got 35% less space in the newspapers and Öijers poetry got quoted a lot more which confirms that female poetry often is considered as less important than the male poetry, and that men in general tends to be judged as more professional than woman. The male reviewers tended to express themselves with greater certainty than the female reviewers who held a more professional tone in their reviews and focused more on the technical aspects of the poetry. This confirms the theory of the male words are being looked upon as the truth but contradicts the theory of women writing more based on personal experience and of women being less skilled in language techniques. In conclusion, there are differences in how poetry gets reviewed and how the reviews are written that are connected to the genders of the poet and the reviewer but these differences are complex and does not show a clear normative way of thinking about gender

El propósito de la tesina presente es analizar la manera de expresar las dificultades de una identidad híbrida en dos poemas contemporáneos de dos escritoras de origen latinoamericano, Gloria Anzaldúa y Julia Alvarez. Se han analizado los dos poemas elegidos teniendo en cuenta la perspectiva de una identidad híbrida y los problemas que ello conlleva en una sociedad llena de normas y fronteras entre grupos étnicos, culturales y sexuales. Después del análisis de los poemas sigue una comparación entre los resultados de la investigación y finalmente presentamos nuestras conclusiones. El estudio muestra que a pesar de que los poemas parezcan muy diferentes se han encontrado puntos de relación, como por ejemplo la similitud de los mensajes principales de los poemas; que necesitamos aceptar las mezclas de culturas, etnias y sexos. / The purpose of this study is to analyse the expression of the difficulties with a hybrid identity in two contemporary poems written by two authors from Latin America, Gloria Anzaldúa and Julia Alvarez. The analysis of the two poems take into account the perspective of a hybrid identity and the problems that this entails in a society filled with rules, standards and boundaries between different ethnic, cultural and sexual groups.  The analysis of the two poems is followed by a comparison of the results of the investigation and ultimately is presented the conclusions. The study shows that the poems share several respects, despite that they at first seems very different. An example is the similarities of the main messages that the poems convey, that we need to accept the mix of cultures, ethnics and sexualities.