The aim of this study was to examine how Woolf creates and depicts consciousness, using Bakhtinian thoughts on dialogism to determine the conditions and limitations for the creation of a ‘self’. In Mrs Dalloway, the characters are indeed portrayed as isolated, all struggling to communicate with one another. Nevertheless, through their interactions with each other and with their external surrounding, the characters gain a sense of self. Woolf’s novel consists of a large network of conscious minds: each of the character is living simultaneously in the present and in the past, and they are interconnected through their memories of each other and their encounters with one another. The shifts between these minds allow the reader to experience consciousness as it often functions, and depicts it as fractioned. As argued by Bakhtin, the conscious mind can never exist on its own: it is through the relationship between the ‘I’ and the ‘Thou’ that a consciousness emerges. Without the ability to communicate with the external world, one risks losing one’s sense of self, as acutely seen in the fate of Septimus Warren Smith, who seemingly cannot distinguish between the internal world and the external world: they merge together, resulting in him perceiving the surroundings as parts of his own being. Furthermore, the intertextual elements in the novel allow the reader to unify the story within her mind: the minds of the characters are connected through their shared memories (of the war, of each other), their perception of one another, and so forth. By applying Kristeva and Barthes’s theories of intertextuality and the role of the reader, the study has shown that the novel encompasses a network of interconnected stories, minds, and consciousness, all dynamic in that they are formed continuously through their interaction with each other as well as through the realisation of the reader. The universe or story-world within which the characters exist is partially narrated by themselves, as seen with Peter Walsh. Through him, a portrait of Clarissa Dalloway emerges: the reader is never allowed full access to the inner minds of the characters, as they as constructed by their interactions and perceptions of each other. Much like words and language, which according to Saussurean theory cannot exist in isolation, consciousness is in essence multiple. Through this study, it is possible to conclude that the structure of Mrs Dalloway agrees with the Bakhtinian notion of self as anchored in the external world and unattainable in the internal. Relying on the multiple perspectives of others, which are unified within the reader, the character’s self is arguably dialogical, constructed and maintained by their shared human experience, and their ability to respond to it. / <p>Godkänt datum 2021-06-06</p>

Online discussion groups serve as an important source of information for parents of deaf children seeking advice about cochlear implantation. Within such groups, advice is often given in the form of short narratives. While previous studies in the fields of public health and sociology have examined online advice-giving, little research has been done using a linguistic or discourse analysis approach. In this study, we analyzed a corpus of 50 very short stories in the form of comments made in response to requests for advice regarding pediatric cochlear implants. The stories were examined in terms of structure, positioning and lexicon, particularly with regards to identity construction. Five basic moves were identified and found to correspond to Labov’s (1972) framework for narrative analysis. Parents positioned themselves and the recipients of their stories as part of the hearing world, and described a process of transformation through which their deaf children were able to become hearing, or assimilate into the hearing world. Many of the storytellers emphasized mainstream accomplishments and their children’s ability to function as “normal” hearing individuals. At the same time, the stories did not demonstrate an explicit rejection of sign language or Deaf culture.

Den här uppsatsen undersöker mäns och kvinnors språkbruk i läromedel för grundskolans senare del och på gymnasiet. Syftet med uppsatsen är att synliggöra vad läromedel framställer om mäns och kvinnors språk samt vilket perspektiv inom den manliga och kvinnliga diskursen dessa läromedel framställer. För att genomföra en läromedelsanalys om hur mäns och kvinnors språk framställs användes en feministisk diskursanalys. Med hjälp av den metoden kunde läromedelstexterna analyseras för att se samhällets normalföreställningar och vilka förgivettagande det tar om språk och kön. Tre läromedel, Portal, Formativ svenska 1 och Svenska [nu] 3, som används runtom i Halmstads och Laholms kommuner, valdes för analysen. Det övergripande resultatet visar att läromedelstexterna framställer en manlig och kvinnlig dikotomi. Mäns och kvinnors språk är presenterade som motsatser, vilket även kan tyda på en heterosexuell normalföreställning. Centralt för dessa läromedel var motsatstänkandet och andra sexuella läggningar än den heterosexuella har inget utrymme. En anledning till att dessa läromedel väljer att avgränsa innehållet till dikotomin är för att uppfylla de mål och kunskapskrav läroplanen efterfrågar.  Det krävs därmed inte fler än ett perspektiv inom språk och kön för att uppfylla läroplanens riktlinjer. Men det kan även synliggöra det mest accepterade perspektivet hos genusteorin, vilket kan vara ett förgivettagande inom diskursen.

This study focuses on the role of the blue-haired Fairy in Carlo Collodi's "Le Avventure di Pinocchio" compared to the feminine role in Italian Children's literature and the European genre Bildungsroman during the late 18th century. It also explores Italy's educational and ideological agenda during this period and the role of children's literature as a pedagogical contribution towards the formation of a new Italian nation after 1861.  Having thoroughly considered Carlo Colloid’s criticism towards school organization, traditional family and children's literature, the conclusion demonstrates that the blue-haired Fairy can be interpreted as an anti-conformist figure in comparison to the educational values of 18th century Italy and that she is in contrast to the stereotypical descriptions of women in literature during this period, both as an educator and as an independent woman. / Questo studio si concentra sul ruolo della Fata Turchina nel "Le Avventure di Pinocchio" di Carlo Collodi rispetto al ruolo femminile nella letteratura per l'infanzia italiana e nel genere Bildungsroman europeo durante il fine Ottocento. La tesina esplora anche l'agenda educativa e ideologica dell'Italia durante questo periodo e il ruolo della letteratura per l'infanzia come contributo pedagogico alla formazione di una nuova cultura unitaria italiana dopo il 1861.  Considerata a fondo la critica di Carlo Collodi nei confronti della famiglia tradizionale, dell'organizzazione scolastica e della letteratura per l'infanzia, la conclusione dimostra che la Fata Turchina può essere interpretata come una figura anticonformista rispetto ai valori educativi dell’Italia di fine Ottocento ed in contrasto con le descrizioni stereotipate della donna nella letteratura di questo periodo, sia come educatrice che come donna indipendente.

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The aim of this study is to examine the representation and portrayal of men and women in Swedish textbooks. The study is based on four textbooks used to teach literary history in Svenska 2, and it focuses on the authors who are represented in the chapters about realism. The theoretical frame on which the investigation is founded is gender theory, and the study is conducted with a gender perspective. With this background, three following research questions were formed: To what extent do male and female authors respectively represent realism in textbooks for upper secondary school? What differences and similarities are there in the portrayal of the two categories? In what ways is the representation of gender in textbooks in line with or deviating from the curriculum?  The method used in the study is a textual analysis, in which the textbook content is examined quantitatively.  A qualitative analysis follows. The investigation shows, among other things, that the distribution of space to male and female authors is unequal. In the portrayal of men and women, gender stereotypes are reproduced, and gender norms are confirmed. Lastly, the study shows that the values represented in the curriculum are not reflected in the textbooks.

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In this study I investigate how a mystic relates to and uses silence in poetry, as silence is a very important part of mysticism overall. I have focused on the Eastern Orthodox Christian mystic branch, which, in this thesis, is represented by the poet Mīkhāʾīl Nuʿayma from Lebanon. In the Eastern Orthodox Christian mysticism, silent contemplation, inner visions and apophatic silence and theology is important. I study Nuʿayma’s poems ʾAghmiḍ Jufūnak Tubṣir, 1924, Yā Rafīqī, 1922, and ʾIlā Dūda, 1923, that are part of his poem collection Hams al-Jufūn that was originally published in 1945. I operationalize silence through several features: ellipsis, elliptic imagery and metaphors, punctuation, rhythm, gaps and breaths, repeating of words or concepts, tone and choice of words. I conduct this study partly through a deconstructive method and an extension of Shirley Näslund’s method in her article Skiljetecken som stilmedel – Om bruket av komma, tankstreck och tre punkter i tio dikter av Nils Ferlin. I show that Mīkhāʾīl Nuʿayma, by linguistic means, succeeds in mediating the content of his poems also in the language, grammar and text; that he skillfully focuses and accentuates certain messages by his rare and sometimes odd placements of punctuation marks and enjambments; that he has a comparably simple language, and uses ellipsis and metaphors a great deal; that he has special choices of words and constellations and uses contradictory reasonings and repeating of words and concepts; that he engages the reader by creating a reaching and lure in the text; that he has a special tone, rhythm and atmosphere that opposes the panegyric norm that has prevailed in Arabic poetry. The analysis is based on my translations and my interpretation.

<p>Godkänt datum 2021-06-11</p>