I den här uppsatsen undersökts hur greppet mise en abyme kan användas som ett dekonstruktivt verktyg i fiktionen. De tre romanerna som ligger till grund för uppsatsen är Montecore - en unik tiger av Jonas Hassen Khemiri, Sara Stridsbergs Drömfakulteten: tillägg till sexualteorin samt If on a Winter’s Night a Traveler av Italo Calvino. Gemensamt för romanerna är att de alla genom att kommentera sin egen tillkomst och låta boken uppträda i boken skapar en osäkerhet i frågan om vad som är sanning och inte i de respektive berättelserna. Sanningen rubbas och dekonstrueras om vartannat genom användandet av mise en abyme.

The purpose of the essay is to find an understanding of people's experiences of musical creation. How do we experience creative creation? What is happening in the process? Who decides what is music? Through observations and interviews I have analyzed the concepts that emerge when my informants talk about a creative process. Based on hermaneutical assumptions that a process is interpretable and leads from one point to another, I have wanted to get a deeper understanding of what is interpretable in the informants' experiences of the process. The starting point is that the truth changes a bit for each time a new experience takes place. A so-called transformation. In order to address the essence (the "truth") in my question I have used qualitative research and tried to embrace a phenomenological perspective. I have applied a deductive approach to the analysis of the empirical material. The results show that many of my assumptions are confirmed as regards the transformation as requested. A problem identified in the study is that the creative processes are difficult to measure and assess. In a time driven by economic concerns, they are also not as valued as mathematics, engineering, or physics. / Syftet med uppsatsen är att utforska upplevelsen av musikaliskt skapande. Hur upplever vi ett kreativt skapande? Vad är det som sker i processen? Vem är det som bestämmer vad som är musik? Genom observationer och intervjuer har jag analyserat vilka begrepp som kommer fram när mina informanter pratar om en kreativ process. Utifrån hermaneutiska antaganden om att en process är tolkningsbar och leder från en punkt till en annan har jag önskat få en djupare förståelse för vad som är tolkningsbart i informanternas upplevelser av processen. Utgångspunkten är att sanningen förändras lite för var gång en ny erfarenhet äger rum. En så kallad transformation. För att få fatt på essensen (”sanningen”) i mina frågeställningar har jag använt mig av kvalitativ forskning och försökt att inta ett fenomenologiskt perspektiv. Med deduktiv ansats har jag förhållit mig till den data jag har fått fram. Resultatet visar på att många av mina antaganden bekräftas vad gäller den transformation som efterfrågades. En problematik som framkommit i studien är den att kreativa processer är svåra att mäta och bedöma. De är inte heller lika värderade i en ekonomistyrd samtid som matematik, teknik eller fysik.

En icke tämjd berättelse om min yrkeslivsresa. Jag är driven från entreprenörskap, företagsledning och inkomst-status till konst och konstnärskapet. Texten är skriven ur känslan av flyk och ensamhet i mitt tidigare yrkesliv, i längtan att komma hem, via det okända, det outsägbara. Till det fria, sanna, inkomst-osäkra egna skapandet som självändamål.  ”Konsten är ständigt på flykt undan till nya gömslen, medan civilisationen inkräktar på urskogarna.” Hans Larsson: 'Intuition' sid 15

This essay examines the role of repetition in the two novels Älskaren (The Lover) by Marguerite Duras and Den amerikanska flickan (The American Girl) by Monika Fagerholm, through a thematic and comparative reading. The study mainly uses Bruce F. Kawin’s analysis of repetition in literature and language as well as it refers to Cathy Jellenik and her analysis of rewriting in the works of Duras. The study also takes into Julia Kristeva’s idea of Duras as a writer lacking of catharsis. Furthermore, the essay analyses both novels by applying Sigmund Freud’s term “repetition compulsion”. The essay shows how Fagerholm and Duras both use permissive writing, which means that the authors boldly write clichéd replications in their texts. Both writers practice what Kristeva calls “an aesthetics of awkwardness”. Aswell, the authors both question whether a story at all is able to be told: they work with what Jellenik calls “an aesthetics of doubt”, but in different ways. Moreover, by using the work of Kawin, the essay shows how the authors have different ways of handling time. The study shows indications of repetition compulsion in the characters and also exemplifies instances of what Kristeva calls “reduplication”. Through this a fragmentary and Nietzschean perspective of the self is displayed in the novels. The study review how Duras can be said to be a writer lacking of catharsis, while Fagerholm on the other hand liberates one of her protagonists from repetition compulsion by allowing the character to undergo a catharsis. Finally, the essay conclusion points out that Duras and Fagerholm are postmodern writers who know how to challenge the concept of truth. Even if they are different writers in many aspects, they both use repetition as a method to express something unspeakable. They can be said to write also by an aesthetics of search for the truth; a search for an origin tale which they both argue as biased and is therefore impossible to capture.

This bachelor thesis engages in the question of silence in the writings of Fenno-Swedish modernists Mirjam Tuominen and Gunnar Björling, silence being understood as both a poetic theme and a question of literary form. Alongside this exposition runs a discussion about the possibilities and impossibilities of interpretation in the field of academic literary studies. This query is connected to the different ideological positions of the two writers, conjoined by ideas about anti-comprehensibility. Considering certain weaknesses of classical hermeneutics as well as the theory of deconstruction, especially in the case of reading poetry, this thesis tries to point out possible routs for a practice of a more dynamic interpretation, with special regard to understanding the trope of silence in the modernist poetry of Tuominen and Björling. The composition explicitly applies a ”method of wandering” inspired by Maurice Blanchot’s understanding of the priests of Dionysus in Hölderlin’s writings – maundering in the holy night – as a metaphor for a critique-in-the-creating. This complies to Theodor W. Adorno’s idea of the aporetic situation of the interpreter and the unsolvable conflict between scientific discourse and art understood as a medium of truth in a more radical sense. The study aspires to perform a dialogue between different faculties of interpretation, and to make this dialogue viewable, so that the question of understanding remains ambiguous in line with the poetics of Tuominen and Björling. The results that follow bare the mark of aporia, but points towards a possible reading of silence (in Björling’s and Tuominen’s writings) as connected to a certain kind of sensibility and confidence in the immanence of truth in existence.

A form of political disinformation that had a prominent place in journalism during the US presidential election in 2016 was called fake news. There were, however, uncertainties what could be called fake news. The purpose of this study was to explore qualitatively how mainstream media described the word fake news. The data collection approach was inductive. Data were collected primarily by searching the electronic media databases. The qualitative analysis of 212 articles resulted in two overarching themes which outlines how the concept of fake news has been described in meanstream media. The results of the analysis resulted in the two themes: fabricated lie and distorted truth. The main conclusion is that it circulates two different meanings for the concept of fake news. These definitions of fake news have different meanings, areas of action, actors behind och motives.

Distinktionen mellan analytiska och syntetiska sanningar spelade en viktig för filosofer som Leibniz, Hume och Kant. Men det var först med Frege som begreppet analyticitet fick en definition som inte bara tycks vara explicit utan som också hade en bred tillämpbarhet. Den förmodade distinktionen analytiskt/syntetiskt har dock senare ifrågasatts av filosofer såsom Quine. Denna uppsats avser i första hand att visa att Quines argument, i artikeln Two Dogmas of Empiricism (1951), mot analyticitet inte är tillräckligt starka för att bevisa att den fregeanska definitionen av analyticitet är cirkulär. I detta sammanhang har uppsatsen även undersökt kronologiskt viktiga epoker där Quine engagerar sig i den analytiska/syntetiska distinktionen i sitt arbete före liksom efter 1951. Den mer moderna traditionen, som delar in analyticitet i två kategorier – metafysisk och epistemisk analyticitet – går tillbaka till Boghossian (1996). Boghossian försvarar en uppdaterad version av Wittgensteins och Carnaps åsikt att analyticitet skall anges i termer av implicita definitioner I motsats till Boghossian anser Williamson att det inte finns något sätt att uppfatta analytiska sanningar som gör analyticitet användbar inom filosofin. Inom ramen för uppsatsens syfte kommer även dessa ’post-quineanska’ försök att beskriva analyticitet och den analytiska förklaringen av a priori att redovisas och kritiskt granskas. / The distinction between analytic and synthetic truths has played an important role for philosophers such as Leibniz, Hume and Kant. However, it was Frege who gave the notion of analyticity a definition that not only appears to be unambiguous but is also widely applicable. However, the supposed analytic/synthetic distinction was later challenged by philosophers such as Quine. This thesis aims primarily to show that Quine’s arguments, in the article Two Dogmas of Empiricism (1951), against analyticity are not sufficient to show that Frege’s definition of analyticity is circular. In this context, the paper has also examined chronologically important periods where Quine is engaged in the analytic/synthetic distinction before and after 1951. The more modern tradition, which separates analyticity into two broad categories – metaphysical and epistemic analyticity – goes back to Boghossian (1996). Boghossian defends an updated version of Wittgenstein’s and Carnap’s view that analyticity should be stated in terms of implicit definitions. In contrast to Boghossian, Williamson believes that there is no way of understanding analytic truths that makes analyticity useful in philosophy. Within the scope of this thesis, these ‘post-Quinean’ attempts to describe analyticity and the analytic explanation of a priori will also be presented and critically reviewed.

My purpose with this thesis is to examine Adorno’s rethinking of the aesthetic concept of form, in his last work, Ästhetische Theorie. Artistic form has in the tradition of aesthetics been quite forgotten according to Adorno. He even calls it, “the blind spot of aesthetics”. To rework the concept of form he introduces a set of conceptual relationships that takes an indispensable part in the new multifaceted concept of form. In fact, there is a plurality of concepts that is being put to work, to arrive at a new understanding of form. My methodological approach has been to trace these conceptual relationships that revolve around the aesthetic form and to highlight their connections. My contribution with this undertaking is to accentuate the weightiness of the form concept in Ästhetische Theorie. In the concept, Adorno’s materialistic thinking also becomes discernible. This aspect is especially mirrored in the theoretical attention he pays to the aesthetic material and the artifact itself. Another purpose of this thesis is to explore how the aesthetic form can be critical and to fathom what it implies. Criticism in Ästhetische Theorie is closely related to what Adorno calls aesthetic truth, which is taking shape in the artistic form. The form is thus related to many of the essential concepts in Ästhetische Theorie, such as truth and illusion. The study further examines how the critical form can be autonomous, while at the same time being deeply enmeshed in society.

I denna essä formulerar jag mig kring mitt måleri och mitt behov av att definiera mötet mellan konstverk och betraktare. Jag försöker att närma mig mötet som tema genom att referera till andra konstnärer och författares begrepp, namn som till exempel Paul Celan, Vera Frisén, Wassily Kandinsky, John Stenborg och Ulf Linde. I essän finns också minnesbilder av möten med måleriet som kommit att påverka mig starkt under min uppväxt, med hjälp av dessa minnesbilder får jag nycklar till att se hur det påverkat det som kom att bli mitt konstnärskap idag. Min förhoppning är att kunna precisera vad detta möte är, kan vara, och slutligen, förstå varför jag klamrar mig fast vid det.

This essay analyses Curtis Sittenfeld’s novel Sanning och Skvaller as an adaption of Jane Austen’s Stolthet och fördom. The purpose of this essay is to take a closer look at how the characters and the plot changes in Sittenfeld’s version compared to the original. The character analysis mainly focuses on Mr. Wickham, lady Catherine de Bourgh and Caroline Bingley as characters, as well as Mary Bennet and how her sexuality is portrayed. Elizabeth Bennet’s relationship with Mr. Darcy and the importance of a proposal and a marriage is also something that this essay analyses. The reception of the novel is something that will be addressed by highlighting some of the negative, and positive, reviews that the novel received upon publication. The discussion at the end brings up whether or not Sittenfelds novel can be classified as an adaption after changing so much of the story, how the elements in the new version changes its believability and how the problematic aspects may ruin the story.