Tove Jansson was born in 1914 and died in 2001. She was a Finnish, though Swedish-speaking, novelist and painter. She wrote many books of which the Moomin books were the most popular. She wrote in total eight Moomin books (picture books not counted) of which some were rewritten one of more times. The first Moomin book appeared in 1945 and the last as late as 1970. Two Moomin books, Moominpappa at Sea and The Memoirs of Moominpappa, deals especially with the father in the Moomin family which is the character I have been most interested in. Several other studies have been done of the Moomin books, but none of them have had the dad and the gender relations between him and the mum as its focus. No earlier study has looked at the Moominpappa with masculinity studies as a tool for analysis. The main aim of this study was to find out how masculinity, unmanliness, femininity and gender relations are staged and problematized in two books by Tove Jansson: Moominpappa at Sea and The Memoirs of Moominpappa. I have also studied the construction of gender differences between the Moominpappa and the Moominmamma. The books have been read and then analyzed with psychoanalysis and masculinity studies as the main analyzing tools. The psychoanalysis has in parts been feministic. The result is that Moominpappa at Sea tells about a masculinity that is not working and about gender relations that has to be rebuilt in order to give the Moominpappa a sense of masculinity. The Moominmamma is oppressed and mostly fits herself into that gender relation, but she also makes her own world by painting the walls of the lighthouse tower and even manages to escape into her painting. The growing Moomintroll tries to find his own ways by moving away from the family and starts coming close to the frozen Groke which makes her dance and melt. In my analysis she is an abjected version of the Moominmamma and The Lighthouse Keeper as an abjected version of the Moominpappa.

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In this essay, I study how the artist is portrayed in the works of August Strindberg and Ingmar Bergman. I compare Strindberg’s novels The Romantic Organist (1888) and By the Open Sea (1890) with Bergman’s The Hour of the Wolf (1968) and Fanny and Alexander (1982). It should be noted that I’m focusing on the film manuscripts (“Filmberättelser”) of Bergman rather than the films.  My aim is to study how the works of Strindberg and Bergman correspond in regards to the artist motif. Strindberg’s influence on the works of Ingmar Bergman has been wildly recognized among scholars and critics for decades, but no extensive study has before been made on the subject of the artist.

In this essay Jon Fosse’s novel Trilogien is explored through the lens of Sigmund Freud’s well-known paper titled “Das Unheimliche”. Fosse has a significant style of writing, which is argued to have a vital influence on the content, specifically the characters and the time. The reading of Freud’s text helps to illuminate the ways in which Fosse’s story is operating on multiple levels at once. The first chapter of the analysis concerns the characters of the book, and how they can be understood by the motif of the double brought from Freud’s essay. It seems that the subject's whole being, and the story alike, is gliding. Subjects aren’t fixed in the world of Trilogien, and with the double motif we understand how that is contributing to the uncanniness felt when reading the book. Time is also not truly reliable here, it is more relative and elastic than the external world. Occurrences keep happening over and over, which are analyzed through Freud’s motif of repetition. When applied, we can see how the legacy of the family and the trauma of experience gives an explanation of how time functions in Trilogien. Lastly, the chapter of form is connected to both of the earlier chapters. Just like subjects and time are repeated, so is the text in itself with sentences being almost circular rather than linear. The story is having a hard time getting through all the worldly repetition, which seems to spill over into the content itself, creating a holistic being whose parts are drifting into each other.

Uppsatsen syftar till att utifrån ett genusperspektiv påvisa den kvinnosyn som förmedlas i romanen Åminne av Sven Delblanc, den första titeln i Hedebysviten bestående av fyra romaner som skildrar den bygd där författaren växte upp. Huvudmaterialet utgörs av den litterära texten, i någon mån uppmärksammas också biografiska rön om författarens uppväxt med ett komplicerat förhållande till fadern och bevittnande av kvinnomisshandel. Den viktigaste teorin är den genusteoretiska där Irigaray tecknat en maktordning med rötter i Platons filosofi i vilken männen är överordnade kvinnorna. Det sociologiska perspektivet visar hur den lokala maktordningen såg ut i Hedeby under åren 1939-45 med hierarkier, makt- och beroendeförhållanden inbegripet en patriarkal könsordning i det lokalsamhälle som romanen skildrar. Symbolik i romanen understryker textens budskap. Beteendevetenskap med bidrag från psykoanalys och personlighetspsykologi ger insikt i hur för kvinnor viktiga beslut påverkas av känslor och personlighet, alltså inte bara av rationalitet samt att den lokala kulturen i Hedeby ibland motverkar rationellt handlande.Metoden är texttolkning med en hermeneutisk ansats så att detaljer i texten studeras men relateras till helheten.Kvinnornas öde i Hedeby är att vara underordnade männen, föda barn och arbeta men med små utsikter till en egen yrkeskarriär, symboliserat med ”stenjungfrun”. Kvinnornas identitet beror av deras män, särskilt åsidosatta blir de ensamstående mödrarna. Även kvinnorna i toppskiktet lyder under männen med barnafödande som främsta uppgift. Små kvinnliga forum som kafferep har betydelse för att diskutera exklusivt kvinnliga frågor, en subkultur under ytan. Ett för kvinnorna hoppingivande undantag från regeln om den förtryckta kvinnan finns i den blommande karaktären Lisa som styr sitt eget öde.

Uppsatsens huvudsyfte är att studera finska representationer i svensk spelfilm ur ett postkolonialt perspektiv. Med en diskursanalytisk ansats och med stöd i psykoanalys, postkolonial och feministisk teori diskuteras hur finsk etnicitet konstrueras, omförhandlas och samverkar med kategorier som genus, sexualitet och klass i svensk spelfilm från 1980 till 2010. Författaren vill visa på vilka sätt representationerna kan kopplas till en postkolonial relation mellan Sverige och Finland. Ett annat syfte är att ge exempel på hur postkolonial teori kan tillämpas i en svensk-finsk kontext. Fyra filmer analyseras: Två killar och en tjej, Seppan, Populärmusik från Vittula och Kid Svensk. Varje filmanalys utgår från ett tema: 1) hur etnicitet kan kopplas till olika rum eller miljöer; 2) hur kategorier som sexualitet, klass, genus och etnicitet samverkar; 3) hur etnicitetsbegreppet kan töjas samt 4) hur olika motståndsstrategier kan se ut. En central slutsats är att representationerna av finnar i svensk film ingår i en kolonial diskurs. Filmiska representationer är en del i denna diskurs. När den etniska kategorin finskhet är närvarande i svensk film aktiveras olika maktordningar som vilar på historiska stereotyper och sociala och materiella förhållanden. Men även motståndsstrategier blir synliga. Finnar och finskhet framstår och konstrueras ofta som något exotiskt och skrämmande men samtidigt begärligt i en svensk kontext.

<p>This is a study of the novel <em>Mes mauvaises pensées</em> (2005) by the French writer Nina Bouraoui. I use an intertextual comparative method, where I read the novel against three intertexts: Marie Cardinal <em>Les mots pour le dire</em> (1975), the David Lynch movie <em>Mulholland Drive </em>(2001) and novels and photographies by Hervé Guibert. Main focus is on the relation between body and language. Using the psychoanalytic theories by Julia Kristeva I examine the melancholy of the narrator in <em>Mes mauvaises pensées</em>. The melancholic subject mourns a Thing which is the unrepresentable archaic mother. Melancholy is connected to the notion of exile; the subject belongs to a lost place in the past which it is still holding on to. The narrator of <em>Mes mauvaises pensées</em> is still living in her childhood, even though she is a grown up woman. I show how the place from where she speaks is the child. The female body and the female sexuality are not represented in the text, there is a missing link between the female body and it’s representation in language – in the symbolic order. According to Kristeva the melancholic denies the loss of the Thing – in the end the mother – and clings to the unrepresentable void. By realizing and acknowledging the loss one can reconstruct the bond to the archaic mother in language. Bouraoui’s failure in writing <em>the feminine</em> into the text is interesting because it puts lights on the conditions of writing the body for women. The theory of l’écriture féminine is an inspiration for the analyses and I contrast it to Judith Butler’s idea of gender performativity. There is a conflict in what constitutes gender and sex between psychoanalysis and queer theory, which is also found in the narrator in Bouraoui’s novel – trying to create herself through pure performativity she never succeeds to act independently of the mother and the female body.</p>

Psykoanalysen är ingen vetenskap eftersom den saknar kunskapsobjekt. Med syftet att finna detta objekt och därmed grunda en vetenskap togs avstamp i Freuds begrepp Det Omedvetna. Genom begreppsanalys av Freuds texter och med hjälp av matematisk mängdlära samt nedslag i filosofi och ontologi kunde en första beskrivning av objektet göras. Freuds begrepp visade sig då syfta på ett inlärt men bortträngt Omedvetet som i sin uppbyggnad ligger nära vårt medvetna tänkande. Det sökta objektet däremot, var ett medfött och inte bortträngt psykiskt system med en egen logik, symmetrisk logik, och sannolikt också vårt känslocentrum. Studier av neuropsykoanalys band sedan objektet till Limbiska systemet och det implicita minnet. Här bekräftades att systemet bär våra känslor. Ur författarens praktik hade samtidigt vuxit en idé om att vi föds med en uppsättning bilder av oss själva som är systematiskt ordnade i ett självbildssystem och av grandios natur. Till systemet kunde en livsåskådning knytas som primärt är en idealism. Självbildssystemet skyddades av en homeostatiskt fungerande sjävbildsbevarande drift. Denna drift framstod som vår viktigaste drift. Sexualdrift och självbevarelsedrift intog en sekundär roll. Det fanns sedan fog för att sammanföra det inte bortträngda Omedvetna och självbildssystemet till en enhet och betrakta kombinationen som psykoanalysens kunskapsobjekt. Resultatet hade inflytande på frågor som: den fria viljan, moral, determinism och kunskapssubjektets status. / Psychoanalysis is not a science since it does not have an object of knowledge. With the objective to find such an object and thereby establish a science Freud´s concept the Unconscious was taken as a point of departure with concept analysis of some of Freud´s texts and with help of mathematical set theory and the impact of philosophy and ontology an initial description of the object was made. What Freud had in mind with his concept was a system that was learned and then repressed, a repressed Unconscious, which in its structure is close to our conscious thinking. The requested object of knowledge of psychoanalysis was shown to be an inborn psychical system, which is not repressed, and with its own logic, symmetrical logic, and probably also our centre of feeling/emotion. Studies of neuro-psychoanalysis situated the object in the Limbic system and the implicit memory. This confirmed that the system carries our feelings and emotions. From the author´s practice had grown, at the same time, an idea that we are born with a set of images of ourselves that are systematically arranged in a self-image system of a grandiose nature. The system could be associated with a philosophy that primarily is an idealism. The self-image system was protected by a homeostatic subsystem which aim was conservation of the system. This subsystem took its power from a self-image protecting drive. This drive was found to be our most powerful drive. Sexual desire and self-preservation took a secondary role. It was substantiated that the unrepressed unconscious and the system of self-images shall be treated as one unit and that this combination is the sought for object of knowledge of psychoanalysis. The result had influence on the issues: free will, morality, determinism and the status of the subject of knowledge.

This is a study of the novel Mes mauvaises pensées (2005) by the French writer Nina Bouraoui. I use an intertextual comparative method, where I read the novel against three intertexts: Marie Cardinal Les mots pour le dire (1975), the David Lynch movie Mulholland Drive (2001) and novels and photographies by Hervé Guibert. Main focus is on the relation between body and language. Using the psychoanalytic theories by Julia Kristeva I examine the melancholy of the narrator in Mes mauvaises pensées. The melancholic subject mourns a Thing which is the unrepresentable archaic mother. Melancholy is connected to the notion of exile; the subject belongs to a lost place in the past which it is still holding on to. The narrator of Mes mauvaises pensées is still living in her childhood, even though she is a grown up woman. I show how the place from where she speaks is the child. The female body and the female sexuality are not represented in the text, there is a missing link between the female body and it’s representation in language – in the symbolic order. According to Kristeva the melancholic denies the loss of the Thing – in the end the mother – and clings to the unrepresentable void. By realizing and acknowledging the loss one can reconstruct the bond to the archaic mother in language. Bouraoui’s failure in writing the feminine into the text is interesting because it puts lights on the conditions of writing the body for women. The theory of l’écriture féminine is an inspiration for the analyses and I contrast it to Judith Butler’s idea of gender performativity. There is a conflict in what constitutes gender and sex between psychoanalysis and queer theory, which is also found in the narrator in Bouraoui’s novel – trying to create herself through pure performativity she never succeeds to act independently of the mother and the female body.