Uppsatsen analyserar Sara Lövestams och Per Gustavssons bilderbok Under mattan (2018). Bilderboken är skriven utifrån det idiomatiska uttrycket "att sopa något under mattan" och den illustrerar vad som faktiskt händer, bokstavligt talat, om vi sopar in allt möjligt under mattan. Syftet med analysen är att undersöka om och hur de vuxnas brister framställs samt hur relationen mellan barn och vuxna skildras. Uppsatsens metod utgår från bland annat Ulla Rhedins bilderbokskoncept. Ytterligare metoder som använts är närläsning och ikonotext samt analys av karaktärer. Analysen visar att föräldrarna i bilderboken brister i sin vuxenroll samtidigt som barnet tar mer ansvar och växer in i rollen som det kompetenta barnet. Relationen mellan barnet och de vuxna är spänd samt speglar den makt vuxna har över barn i samhället idag. De vuxnas brister blir synliga både i bild och text, där bilden vid flera tillfällen förstärker textens budskap. Under mattan har potential att användas i undervisningen med både äldre och yngre elever och berättelsen har flera nivåer som går att anpassa utefter elevgruppens ålder och mognad.

[pt] O tema proposto para exegese narrativa de Gn 23,1-20 é A vida de Sara e o cumprimento da Promessa-Aliança. O interesse por esse tema deriva da participação da matriarca Sara no cumprimento da promessa-aliança de filho, bênção e terrra feita por Deus a Abrão (cf. Gn 11,26-25,11). No ato da escrita há uma intenção que conduz cada escolha. Desse modo, a eleição do gênero literário de relato de morte e sepultamento para unir conteúdos distintos como morte e aquisição de propriedade parece não ser fruto do acaso. Quanto a Gn 23,1-20, particularmente chama a atenção o fato de o referido morto ser identidficado com Sara e a terra negociada ser identificada como Macpela, em Cariat Arbe ou Mambré, que é Hebron, na terra de Canaã. A leitura sistemática do último episódio narrador sobre a vida de Sara permite constatar que a aquisição do campo com a gruta de Macpela, a árvore e tudo o que está ao seu redor foi possível para Abrãao graças a Sara, o que corrobora a hipótese desta tese: ao lado de Abrãao, Sara é elemento essencial para o cumprimento da promessa-aliança, pois, no conjunto das promessas em Abrãao é o receptor e o destinatário, Sara está essencialmente implicada em seu cumprimento. De lado, a compra do campo de Macpela pode ser interpretada como cumprimento da promessa-aliança do dom da terra no ciclo de Abrãao e Sara e como prefiguação do cumprimento da promessa-aliança do dom de toda a terra. Do outro lado, o sepultamento de Sara, na terra de Canãa, também sugere uma prolepse da posse da terra, uma vez que sua gruta sepulcral tornou-se marca física de demarcação territorial no Hebron. Esse desfecho revela que Abrão é o primeiro ancestral imigrante do antigo Israel a possuir propeiedade de terra em Canaã; Sara é a primeira memória ancestral a ser sepultada na terra da promessa; e a aquisição de Macpela concede o status de propriedade ancestral e nalienavél (cf. 1Rs 21,3). Nessa prespectiva, Sara a geradora da semente/sêmen da promessa-aliança (cf. Gn 17,16.19), dá sentido teológico à gruta de Macpela, a qual mais tarde receberá Abrãao e sua descendência (cf. Gn 17,8). Sara (cf. Gn 23,1-20), Abrãao (cf. Gn 25,9), Isaac (cf. Gn 35,29), Rebeca e Lia (cf. Gn 49,31) e Jacó (cf. Gn 50,13), todos os patriarcas e matriarcas desenraizados, são plantados em Macpela, tornando-se os seus guardiões para sempre. Se o útero estéril de Sara é a porta de entrada de Israel na história, seu túmulo é, igualmente, a porta de entrada de Israel na posse da terra de Canãa. Ela é a primeira ancestral de Israel a ser introduzida no ventre da terra prometida, abrindo, assim, espaço para que os demais patriarcas e matriarcas da promessa com ela se reúnam. / [en] The theme proposed for narrative exegesis of Gen 23,1-20 is The Life of Sarah and Fulfillment of Promise-Covenant. The interest on this topic stems from the issue of participation of matriarch Sara in fulfilling the promise-covenant of son, blessing and land made by God to Abraham (cf. Gen 11,26–25,11). In the act of writing there is an intention that leads to each choice. Thus, the election of the literary genre of account of death and burial to unite different content: death and acquisition of property; it seems to be the result of chance. As for Gen 23,1-20, in particular, draws attention the fact that the dead is identified with Sara and earth negotiated is identified as Machpelah, in Kiriath Arba or Mamre, which is Hebron, in the land of Canaan. The systematic reading of the last episode narrated about Sara s life reveals that the acquisition of the field with the cave of Machpelah, the tree and all that is around it was possible for Abraham because of Sarah, thus supporting the hypothesis of this thesis: beside Abraham, Sarah, is essential to the fulfillment of the promise-alliance, because in all the promises that Abraham is the recipient and the assigned, Sara is essentially involved fulfillment. On the one hand, the purchase of the field of Machpelah can be interpreted as fulfillment of the promise-covenant of the land gift in the cycle of Abraham and Sarah and prefiguring the fulfillment of the promise-covenant of the gift of the whole earth. On the other hand, Sarah s burial in the land of Canaan also suggests a prolepsis of land ownership, since its sepulchral cave becomes physical signal of territorial demarcation in Hebron. This outcome shows that Abraham is the first immigrant ancestor of ancient Israel to possess land ownership in Canaan; Sara is the first ancestral memory to be buried in the land of promise; and the acquisition of Machpelah grants ancestral and inalienable ownership status (cf. 1 Kings 21,3). From this perspective, Sara, the generative seed of promise-covenant (cf. Gen 17,16.19), gives theological sense the cave of Machpelah, which later receive Abraham and his offspring (cf. Gen 17,8). Sarah (Gen 23,1-20), Abraham (Gen 25,9), Isaac (Gen 35,29), Rebecca and Leah (Gen 49,31) and Jacob (Gen 50,13), all the patriarchs and matriarchs rootless, are planted in Machpelah, become-their guardians forever. If the barren womb of Sarah is Israel s gateway to history, her tomb is also Israel s gateway to the possession of the land of Canaan. She is the first ancestor of Israel to be introduced in the womb of the promised land, thus opening space for the other patriarchs and matriarchs of the promise to her to meet.

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This essay presents an example of the musical life of a female composer active in Sweden during the late 19th and early 20th centuries. Through a case study on composer Sara Wennerberg-Reuter (1875-1959), the essay contributes information to her biography, which had been lacking specific details. Wennerberg-Reuter's biography has been discussed regarding traditional roles of women in music, her relationship to her own artistry and other active women composers, and finally the contemporary reception of Wennerberg-Reuter as a legitimate composer. Aesthetical theories prevalent during Wennerberg-Reuter’s life has been applied in these discussions, such as those presented by Citron, Öhrström and Hanson, combined with Citron's additional theories considering masculine/feminine elements in the musical approach. The main conclusions reached regarding the specific conditions enabling a professional status as a composer and woman in Sweden during the given time are; a) the liberal permission by the family to pursue higher education in composing, since this was in opposition to the traditions of the time. b) the access to a network of musically active women, from which a sense of being part of a female community can be created. c) the acceptance from musical institutions such as higher educations, composer's societies and media critics.

Människor förbrukar så mycket resurser att natureninte hinner med att återställa sig och där medförsvinner material allt mera. Det bästa vore om vimänniskor enbart använde oss av material som förbrukadesi samma takt som naturen kan återställa dei.Detta designprojekt fokuserar på Bois Durci, pådess tillverkning och användning. Materialet ärgjort av blod och sågspån och var tillgängligt på1800-1900-talet och försvann när bakeliten kom. Detsägs att materialet är bakelitens fader. I arbetet harjag samarbetat med ett företag från Torsåker i centralaSverige och arbetet utefter deras koncept somgrundar sig i att enbart använda sig av råvaror inomen femmilsradie.Arbetet har utgått från frågeställningen ”Kan BoisDurci tillverkas inom en femmilsradie och hur kanjag som designer ta mig an materialet?” Att användasig av en femmilsradie med utgångspunkten frånTorsåker var inte ett problem, det var enkelt att få tagi både blod och sågspån. Mina tankar på hur jag skata mig an materialet utgår mycket från blodet då detär okänt för många i produktsammanhang. Jag togreda på vad jag och företaget kände inför blod genomatt duscha kroppen i det och fick därmed även andrasreaktioner av foton och film från händelsen. Skissernautgick ifrån vad blod är och vad det betyder ochblev sedan tre utvecklade koncept.Arbetet resulterade i förvaringsaskar där konsumenternahar möjlighet att förvara värdefulla ting. Förvaringenska symbolisera vår kropp med en ask iBois Durci som står för vårt blod, ett skyddande locki skinn som står för vår hud som omsluter kropp ochdet värdefulla som läggs i står för hjärtat.

This work presents the use of analytical techniques, conventional and advanced for the chemical characterization of four samples of blends crude oils from the PETROBRAS station, Oiteirinhos II (Carmópolis-SE). These samples, which have different exploration characteristics, were identified as CEOL 1, CEOL 2, CEOL 3 and CEOL 4. After the collection in the field and subsequently separation of water residue through centrifugation at 2500 rpm, the blends were characterized by density, asphaltenes content, fractionation SARA (saturates, aromatics, resins and asphaltenes) and by the application of micropyrolisys off-line. The advanced characterization to elucidate the chemical relationship between the samples were made using the Thermogravimetry (TGA), Infrared Spectroscopy (IR), Spectroscopy in Ultraviolet (UV), Matrix Assisted Laser Desorption Ionization - Time of Flight - Mass Spectrometry (MALDI-TOF-MS), Gas Chromatography Mass Spectrometry (GC/MS), Gas Chromatography with Flame Ionization Detector (GC-FID) and Comprehensive Two-Dimensional Gas Chromatography (GC x GC). The blends CEOL 3 presented the highest density (0.9737 g mL-1), confirming the results of MALDI-TOF-MS, that shows predominantly high molecular mass compounds in the composition. The SARA fractionation indicates the Saturated fraction as the largest fraction in all oils (> 50%). The analysis of TGA explained similar bands of mass loss in all blends and their asphaltenes. The characterization by IR showed bands related to the hydrocarbon composition and the UV showed the presence of mono, di and tri aromatics structures in the blends as well in their respective asphaltenes. The chromatographic analysis (GC/MS, GC-FID and GC x GC) showed that all blends have a paraffinic profile, with the predominance of n-alkanes of low molecular weight (n-C10 to n-C40) and characteristics of oxide depositional environment (Pr/Ph>1) and lacustrine origin (CPI>1). The analysis by GC/MS showed that the distribution area relating to the free n-alkanes in the CEOL 3 blends is approximately 30% lower than the other samples, and that after the micropyrolysis process these areas become approximately the same. For biomarkers, GC/MS was possible to identify the majority presence of tri- and tetracyclic terpanes (m/z 191) and regular steranes (m/z 217) as the major constituents of the blends, pointing also to the release of occluded biomarkers in asphaltenic structures after the micropyrolysis process. The identification and subsequent correlation between biomarkers indicated that the blends crude oils studied have partial biodegradation characteristics, with a blend of mature and immature oils from terrigenous and/or algal organic matter. / Este trabalho apresenta o emprego de diversas técnicas analíticas, convencionais e avançadas, para a caracterização química de quatro blendas de óleos brutos provenientes da estação da Petrobras de Oiteirinhos II (Carmópolis-SE). Estas amostras, que apresentam diferentes características de exploração, foram identificadas como CEOL 1, CEOL 2, CEOL 3 e CEOL 4. Após a coleta em campo e posterior separação dos resíduos de água por centrifugação a 2500 rpm, as blendas foram caracterizados a partir da determinação da densidade, do teor de asfaltenos, fracionamento SARA (Saturados, Aromáticos, Resinas e Asfaltenos) e aplicação da micropirólise off-line. A caracterização avançada, aplicada para elucidar a relação química entre as amostras, foram realizadas utilizando as técnicas de Termogravimetria (TGA), Espectroscopia no Infravermelho (IV), Espectroscopia no Ultravioleta (UV), Espectrometria de Massa por Tempo de voo com Desorção-Ionização a Laser Assistida por Matriz (MALDI-TOF-MS), Cromatografia Gasosa acoplada a Espectrometria de Massas (CG/EM), Cromatografia Gasosa com Detector de Ionização de Chama (CG-DIC) e Cromatografia Gasosa Bidimensional Abrangente (CG x CG). A blenda CEOL 3 apresentou a maior densidade (0,9737 g mL-1) corroborando com os resultados de MALDI-TOF-MS, mostrando a predominância de compostos de alta massa molecular em sua composição. O fracionamento SARA aponta a fração de Saturados como a maior fração em todos as blendas (>50%). A análise de TGA expôs faixas de perdas de massas semelhantes em todas as amostras e seus asfaltenos. A caracterização por IV apresentou estiramentos referentes à composição de hidrocarbonetos e o UV a presença de estruturas mono, di e tri aromáticos tanto nas blendas como em seus respectivos asfaltenos. As análises cromatográficas (CG/EM, CG-DIC e CG x CG) mostraram que todos as blendas possuem um perfil parafínico, com predominância de n-alcanos de baixo peso molecular (n-C10 a n-C40) com características de ambiente deposicional óxido (Pr/Ft>1) de origem lacustre (CPI>1). A análise por CG/EM mostrou ainda que a distribuição em área referente a n-alcanos livres presentes na blenda CEOL 3 é cerca de 30% menor do que as outras amostras, e que após o processo de micropirólise essas áreas passam a ser aproximadamente iguais. Para biomarcadores, por CG/EM foi possível identificar a presença majoritária de terpanos tri e tetracíclicos (m/z 191) e esteranos regulares (m/z 217), como constituintes majoritários das blendas em estudo, apontando ainda, a liberação de biomarcadores ocluídos nas estruturas asfaltênicas após o processo de micropirólise. A identificação e posterior correlação entre os biomarcadores indicaram que as blendas de óleos brutos possuem características de biodegradação parcial, com uma mistura de muito e pouco evoluídos termicamente, provenientes de matéria orgânicas terrígenas e/ou algas.

Uppsatsen har tre syften, alla beträffande Sara Stridsbergs översättning av amerikanskan Valerie Solanas radikalfeminstiska SCUM Manifesto från 1968: att göra en övergripande karaktäristik av översättningen, att undersöka och presentera nyckelord i översättningen, samt att beskriva samspelet mellan Stridsbergs förord och översättning. Med textanalysmodeller av Yvonne Lindqvist, Lennart Hellspong och Per Ledin genomförs textanalyser av översättningen i stort, av ett urval av nyckelord och av förordet. Resultaten visar på att Stridsberg gjort en fri översättning med fokus på språk och stil, och att förordet kompletterar översättningen och bjuder in läsaren till olika sätt att läsa manifesttexten på. I diskussionen avhandlas resultatens betydelse i förhållande till tidigare forskning och vad mina resultat betyder utifrån André Lefeveres teorier om att ideologiska och poetologiska faktorer är det viktigaste vid översättsval. Uppsatsens slutsats är att Stridsberg översatt texten i huvudsak som litterär text istället för som politisk kortare skrift eller längre pamflett, och att förordet presenterar Stridsbergs ingång till texten och hjälper läsaren att göra en litterär läsning av manifestet. / This essay has three purposes, all relating to the Swedish translation of Valerie Solanas’s SCUM Manifesto by Sara Stridsberg. These are: to do a characterization of the translation, to investigate and present keywords in the translated text, and to describe the interplay between Stridsberg’s foreword and translation. Models for text analysis by Yvonne Lindqvist, Lennart Hellspong and Per Ledin are applied for investigating both the general translation, a selection of the keywords and the foreword. The results indicate that Stridsberg’s translation is a free one, where the focal points are style and diction, and also that the foreword is a supplement to the translation that invites the reader to different ways in which to read the manifesto. The discussion deals with both the question of what my results mean in relation to previously existing research, and what they mean according to André Lefeveres theories about ideology and poetics being the most important factors when making choices in tranlation. The conclusion of the essay is that Stridsberg translated the text mainly as a literary text as opposed to as a political brochure or pamphlet, and that the foreword presents Stridsberg’s perspectives on the text and helps the reader do a literary reading of the manifesto.

This study aims to examine the norm-breaking body in Sara Stridsbergs literary fantasy Drömfakulteten (2006) or The Faculty of Dreams (English translation, 2019) which explores Valerie Solanas’ life. Solanas is known for the feminist text SCUM Manifesto (1968, Swedish translation, 2003) and for shooting the artist Andy Warhol.  Solanas has a very distinct separation between body and mind that is apparent in the novel. She ignores her body and whishes not to be aware of it. She only ever thinks about her manifesto, which becomes her mind. To explore the norm-breaking body, my essay is based on Mikhail Bakhtin’s theories of the grotesque body. In this work, I also present different theories that have been inspired by the grotesque, for instance; the female grotesque and the gurlesque. While the grotesque focuses more on the body as a biological organism, the female grotesque and gurlesque focus more on how the female body and femininity is perceived in society and how they break the societal norms. The women are making a “spectacle of themselves”, in Mary Russo’s words. I want to apply these theories on the protagonist, Valerie Solanas, and analyze how the grotesque and norm-breaking body is portrayed in the novel. To further the exploration between body and mind I have the decided to analyze the meaning of the manifesto for Solanas, and also the narrator’s role in how her body is described to the reader.

With this essay I aim to illustrate the simultaneous tension between and entanglement of narratives of mire and modernity in Sara Lidman’s novel Hjortronlandet. Both mire and modernity are understood wide concepts; as temporal as well as spatial markers relating to nature. Through the theoretical frame of Kate Soper’s What is Nature?, Yi-Fu Tuan’s Space and Place and Doreen Massey’s Space, Place and Gender I explore how concepts of nature, time and place are conceptualized, discussed and rewritten in the novel. The analysis shows that nature, time and place are simultaneously understood through narratives and through the intimate experience of material surroundings. Narratives are thus discussed and rewritten when applied to new material surroundings, and the natural surroundings are experienced through already established narratives. Hjortronlandet explores the lives of poor settlers in northern Sweden during the first half of the 20th century in their attempt to convert their allotted wetland to farmland. Throughout the novel the propaganda narratives of the Swedish state clash with the settlers’ intimate experience of place and natural surroundings. All the while, the settler project is undertaken on behalf of the state and plays a part in the creation of a unified modern state. I argue that though an exploration of the perceived dichotomy of mire and modernity presented by the state the entanglement of the two concepts is made visible in the novel. By examining ostensibly contrasting positions I conclude that the novel exposes the untenable approach of the modern state to material surroundings.

Indiana University-Purdue University Indianapolis (IUPUI) / Frances Hodgson Burnett’s life revolved around her love of story-telling, her sons, nature, and the idealized notion of childhood. Burnett had an ability to recapture universal aspects of childhood and transform them into realistic stories containing elements of the fantastic or fairy tales. Her ability to tell stories started at a young age when she and her sisters were given permission to write on old pieces of paper. Burnett’s love for storytelling, reading, and writing was fostered in her parents’ household, in which a young Burnett was given free reign to explore her parents’ book collection and also left unhindered to imagine and act out stories by herself and with her sisters and close friends. Later her love for telling tales became a means of providing for her family—beginning with short story submissions to magazines. Although Burnett did not necessarily start out writing for children her career ended up along that path after the success in 1886 of her first children’s book, Little Lord Fauntleroy. After this success, she was a recognizable author on both sides of the Atlantic. Sara Crewe; or, What Happened at Miss Minchin’s, the 1887–88 serial publication in St. Nicholas magazine and the 1888 short story publication both were titled the same, and the subsequent reworkings of Sara’s world in the forms of two plays, A little un-fairy princess (England, 1902), and A Little Princess; Being the Whole Story of Sara Crewe, Now Told for the First Time (United States, 1903), and the 1905 full-length novel which retained the American 1903 play’s title, outlines the creative process that Burnett undertook while exploring the world of Sara Crewe. By examining the above forms, readers and scholars gain an insight into not only the differences between the forms, but also a view of how the author approached adapting an already published work, and the influence of editors on an authors work. The examination of the development of Sara’s timeline will bring light onto Burnett’s growth as a writer and specifically her transition into her role as a children’s literature author.