På sociala medier såsom Facebook, Twitter och Instagram kan både förlag och författare informera om kommande boksläpp, specialerbjudanden och signeringar, och genom att ha en närvaro i dessa medier gör de sig utöver detta tillgängliga och synliga för människorna som köper och läser deras böcker. Författaren har dessutom möjlighet att skapa en relation till sina läsare som sträcker sig bortom böckerna och eventuella intervjuer i traditionella medier. Genom sociala medier kan läsarna följa författaren när hon får sin första recension, går på releasefester och skriver på sitt nya alster. Som följare kan man kommentera bilderna, ibland kan man också skicka direktmeddelanden och eventuellt få ett svar tillbaka. Den här uppsatsen tittar närmare på hur en svensk författare idag – Sara Bergmark Elfgren – förhåller sig till sociala medier i allmänhet och till Instagram i synnerhet i relation till sitt författarskap. Undersökningen behandlar också hur några svenska förlag ser på Instagram som ett sätt att marknadsföra sig och skapa intresse för sin verksamhet genom en närvaro på Instagram. Uppsatsen behandlar även den litterära offentligheten och diskuterar hur den idag sträcker sig längre än till dagstidningarnas kulturdelar och recensioner på teve.

This qualitative study of a migrant self-organisation in Bologna, Italy analyses the power relations between immigrants and supporters within the field of voluntary work in the migration sector. Based on eight semi-structured interviews it explores the perception of power relations of the members of the intercultural association Spazio per tutti. The material was analysed with the help of thematic analysis and a postcolonial and intersectional perspective. In the first part of the discussion, it is demonstrated, along the theory of “strange encounters” of Sara Ahmed (2000), how dominant norms, such as the invisible norm of whiteness, are still present in the association and immigrants are confronted with the paradigm of integration. The second part of the analysis shows instead, with the help of Homi Bhabha’s theory of the third space (1994), how the association creates a space where fixed identities and roles can be challenged and negotiated. By taking the intersectional approach into account, it gets further clear that the internal power relations are more complex for being grasped along binary categories (e.g. immigrants and non-immigrants), as they for example do not reflect the special subject position of Black women. In a nutshell, the present case study demonstrates the need to draw the attention to the political dimension of social work with immigrants and to create more awareness for intersectional justice, also within organisations that already follow an empowerment approach.

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I have come to a point where I feel a need to understand more about my own work methods and my motivations. Departing from a process diary written during my master studies, I take a closer look at my own artistic process — the questions which inform my work, the questions that arise in it, and how my work is an attempt to understand those questions. Wherein lies the urgency for me to work with art in the way that I do?  This is an essay about a search, about trying to make sense of something, about not knowing. It is also an exploration of how my work in the non-verbal domain transforms my not knowing, how working with art is a tool for thinking and understanding.

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The following master’s thesis consists of an analysis of the narrative positions in the novel The Faculty of Dreams of Sara Stridsberg, a literary fantasy written about the life of the writer and radical feminist Valerie Solanas. Through my thesis I argue that the implicit author, the narratological position of the narrator, and the character called “The Narrator”, all three belong to, and constitute, the fictional character Valerie. In order to conduct this analysis I use narratological theory, with Shlomith Rimmon-Kenan and Mieke Bal as primary theorists, along with theory concerning spatiality and temporality. The analysis is backed up with metafictional theory as well as research into physical and mental reactions caused by trauma, conducted by Bessel van der Kolk. The analysis is sectioned into four parts, with every part focusing on a specific topic: “The Narrator’s” dialogues with Valerie, the novels five different sections (“Land of Bambi”, “The Oceans”, “The Laboratory Park”, “The Factory” and “Love Valerie”), the presence of the cursive fragments and finally the alphabetical lists which appear at different occasions in the novel. The novel acts as a reclamation of power as Valerie recovers her stolen voice, giving herself the opportunity of narrating her own life. The fictional character Valerie salvages her autonomy and receives her rectification by rewriting conversations which have taken place in court rooms, psychiatric hospitals and between different people in her life. She is no longer an external spectator of her own life. Instead she is the one in charge. The narratological levels have collapsed. Only Valarie remains.

This thesis investigates the connections between Sara Ekholm Eriksson´s artwork and the concept of nature in the Anthropocene. Three examples of installations are analyzed and put in a context of the Anthropocene, about the political, moral, and aesthetic value in art. The artwork has qualities that can be described as eco-art. Communicative aspects of raising awareness to nature and its processes can easily, and in this case rightfully, be read as statements to preserve biological diversity. Both the formal properties and the intellectual references can be described as a part of forming the cultural judgement. Connecting Ekholm Eriksson´s artistic work to theories about the cognitive properties of art shows that her works offers the emotional experience of climate change. An effective way to learn about climatic changes are by experience which is what makes the artistic works pedagogical and cognitive aspects so valuable. Even if her intention mainly was to make open artworks that invites the viewer to discover details in a new way, Ekholm Eriksson also works with time layers and processes in nature.

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Esta investigación teórico-práctica desde las artes, hace un registro de la adaptación de la obra En el Jardín de Mónica de Sara Joffré a Teatro Físico, sin uso de la palabra, utilizando como herramienta los Viewpoints desarrollados por Bogart y Landau. La pregunta que se formula es: ¿Cómo es el proceso de adaptación de una obra de dramaturgia de texto a un lenguaje físico a través de Viewpoints? Por ello, se tiene como objetivo explorar, observar y registrar el proceso de adaptación y ver de qué forma los ejercicios de Viewpoints ayudaron a conseguir ese propósito. Se considera pertinente realizar esta investigación porque existe poco registro académico de procesos escénicos, por ello nos parece fundamental contribuir con material académico que pueda servir a posteriores investigaciones. Se colocó como hipótesis que es posible realizar una adaptación de una obra de texto a Teatro Físico mediante Viewpoints y que el cambio de lenguaje, de uno verbal a uno pre-verbal, es decir sin uso de la palabra y con predominancia del cuerpo, genera que el tema de la obra sea asimilado a un nivel más sensorial por el público. Para comprobarla se dividió la tesis en cuatro capítulos. El primer capítulo aborda los conceptos del Teatro Físico y llega a la conclusión de que todo Teatro es físico y por ende el entrenamiento corporal es importante para el actor. En el segundo, se hace una introducción del concepto de los Viewpoints, en qué consiste su entrenamiento y luego se describe cada uno de ellos. En el tercero se muestra la metodología del laboratorio, el cual fue dividido en cuatro módulos y una Muestra Final, que sirvió para comprobar la hipótesis. En el último capítulo se presentan los resultados y análisis del laboratorio. Por último, se concluye que el proceso de adaptación fue exitoso, además, el uso de la herramienta también fue eficiente para este proceso.