Thesis (doctoral)--Universität Stockholm. / Includes bibliographical references (p. 288-308).

Thesis (doctoral)--Universität Stockholm. / Includes bibliographical references (p. 288-308).

This is a study of how expository information is presented in the metatext (title, subtitle, prefaces, dedications, the dramatis personae, announcements of act and scene, stage directions etc.) and the dialogue in seven one-act plays by August Strindberg: The Stronger (1889), Pariah (1889), Simoom (1889), Debit and Credit (1892), The First Warning (1892), Facing Death (1892), and Motherly Love (1892). Exposition in this study is defined as a semiotic temporal-structural element that: (1) is not restricted to any specific part of the drama; (2) is present in both the metatext and the dialogue; (3) transfers information about the prescenic time/action (time/action preceding the scenic time/action), interscenic time/action (scenic and non-scenic time/action between scenes), simultaneous scenic time/action (non-scenic time/action that takes place simultaneously with the scenic time/action, and postscenic time/action (time/action that follows the scenic time/action). The study shows that the expository information is presented gradually in the dramas, in both metatext and dialogue, and in all the four categories of time/action presented above. One important result is that the seven one-act plays, despite their naturalistic qualities, also contain components pointing towards Strindberg’s more expressionistic drama. It is possible to talk about a naturalistic or an expressionistic period in Strindberg’s authorship. It is, however, impossible to regard Strindberg as a naturalist or an expressionist in a stricter sense. Strindberg’s drama is too complex and rich to be placed in a certain theoretic doctrine. It is clear from the dissertation that the study of expository information is useful in dramaturgic analyses, and generates various discussions about for example themes, motives, and metaphors. A complete analysis of the exposition, therefore, must also consider elements such as language and imagery.

The aim of this thesis is to study representations of identity and (in)visibility in Swedish lesbian novels written in the 1930s, and to provide a summary of Swedish lesbian literature up to the early 21st century. This study has been done through a close reading primarily of Charlie by Margareta Suber (1932), Fröknarna von Pahlen by Agnes von Krusenstjerna (1930–1935) and Kris by Karin Boye (1934). Lesbian literature is discussed as a loose category, a construction which can be used as an analytical tool in a conscious and reflexive way, with its basis in the categories of author, text and reader. In short, I define lesbian literature as novels written by women, about lesbian figures and/or relationships, and for lesbian readers in the sense that the literature depicts lesbians from an insider’s perspective. As regards the period before 1930, the focus is on romantic friendship and the excitement zone when the romantic friendship becomes a sexual one, as seen in the fictitious case of Sin fars dotter (1920) by Lydia Wahlström. Sexological theories, the image of “the new woman” and changes to the law all colour the first half of the 20th century. This is seen in Charlie by Margareta Suber, where the author makes use of many such explanations in her creation of a lesbian figure. A reading of Fröknarna von Pahlen by Agnes von Krusenstjerna shows an intricate pattern of relationships at its heart. My analysis charts several same-sex couples, a lesbian single woman and two collectives; that is to say, the female collective and the male homosexual collective. The relationships between women are many-faceted and include everything from romantic friendship, kinship and sensualism to eroticism and shared parenthood. In my analysis of Kris by Karin Boye, I focus on Malin, the main character, and the development of her sense of identity, in which the struggle between the language of the world around her and her own emotional experience of love for a woman is a central theme. After the 1930s, the historical context changed in terms of everything from decriminalisation in 1944 via the homophobic panic of the 1950s to the impact of queer theory in the 1990s. Swedish lesbian literature addresses everything from crime of passion (murder) to the coming out process of young women. There exists in all novels from the 1930s an interplay that is (in)visible: the characters or lesbian relationships depicted are both visible and invisible at the same time. The characters are more or less aware of the potential risks attached to being visible as a lesbian, and often they do not notice themselves when this occurs. During the course of the 20th century, (in)visibility becomes replaced by openness and secrecy, and the visibility of the lesbian characters is politicised. / The abstract is translated by Janet French.

Abstract Historical novels are widely published and read in Finland. During the last few decades both Finnish and Finland-Swedish writers alike have addressed such incendiary topics as the Finnish Civil War and the events of the Second World War. The object of the present study is Lars Sund’s Siklax trilogy: Colorado Avenue (1991), Lanthandlerskans son (1997, ’Son of a Country Shopkeeper’) and Eriks bok (2003, ’Erik’s Book’). These novels can be defined as postmodern historical novels, relatively rare as a genre in Finland and even less studied. The impact of historical novels on readers’ attitudes may be strong, and as a result it is necessary to contemplate the ways in which history is reproduced and interpreted. The present study analyses the ways Sund’s novels represent the past, their relation to historiography and the historical novel as a genre, as well as their conception of history. The aim of the study is to demonstrate what kind of connection exists between narrative techniques and representations of the past. This study utilizes narratological, intertextual and contextual approaches. Cultural narratology integrates features from both classical and postclassical narratology, in consequence the novel’s narrative structures are examined as active forces that both reflect and influence the cultural discourses of a given period. During the research process, the narrative structure of Sund’s novels has been analysed as well as intertextual allusions to other texts and to other cultural and social discourses. The narrative structure of Sund’s historical novels suffices to raise epistemological questions about the achievability and reliability of historical knowledge. The occurrences of other media on the story and discourse level, such as descriptions of paintings and photographs and filmic narration, as well as numerous intertextual allusions, accentuate the polyphony of history and the subjectivity of historical conclusions. The present study connects Lars Sund’s historical novels with the international, Nordic and domestic tradition. Additionally, the analysis of the visual features of the novels connects the study with the abounding discussion on the relationship between word and image. / Tiivistelmä Historiallisia romaaneja julkaistaan Suomessa runsaasti, ja laji on yhä lukijoiden suosiossa. Sekä suomen- että ruotsinkieliset kirjailijat ovat viime vuosikymmeninä käsitelleet maamme historian kipupisteitä, kuten kansalaissotaa ja toisen maailmansodan tapahtumia. Tutkimuksen kohteena on Lars Sundin Siklax-trilogia, jonka muodostavat romaanit Colorado Avenue 1991 (suom. Colorado Avenue 1992), Lanthandlerskans son 1997 (suom. Puodinpitäjän poika 1998) ja Eriks bok 2003 (suom. Erikin kirja 2004). Nämä teokset edustavat postmodernia historiallista romaania, jota Suomessa on kirjoitettu suhteellisen vähän ja tutkittu vielä vähemmän. Historiallisten romaanien vaikutus lukijan asenteisiin voi olla suuri, ja siksi on tarpeen pohtia myös niitä keinoja, joilla historiaa tuotetaan ja tulkitaan. Tutkimuksessa analysoidaan Sundin romaanien tapoja representoida mennyttä, historiankäsitystä sekä suhdetta historiankirjoitukseen ja historiallisen romaanin lajiin. Tavoitteena on selvittää, millainen yhteys kerrontatekniikoiden ja menneisyyden representaatioiden välillä on. Tutkimuksessa yhdistyvät narratologinen, intertekstuaalinen ja kontekstuaalinen tarkastelutapa. Analyysin kohteena ovat teosten kerrontarakenteet sekä viittaussuhteet toisiin teksteihin ja muihin kulttuurisiin ja yhteiskunnallisiin diskursseihin. Lähestymistapaa kuvaa parhaiten klassisen ja postklassisen narratologian piirteitä yhdistävä kulttuurisen narratologian käsite, jossa teoksen kerronnallisia rakenteita tutkitaan sekä aikakautensa kulttuurisia diskursseja heijastavana että niihin vaikuttavana aktiivisena voimana. Sundin historialliset romaanit nostavat jo rakenteellaan esiin epistemologisia kysymyksiä tiedon saavutettavuudesta ja luotettavuudesta. Muiden medioiden, kuten elokuva-, maalaus- ja valokuvataiteen, esiintyminen niin tarinan kuin kerronnan tasolla sekä lukuisat intertekstuaaliset viittaukset korostavat historian moniäänisyyttä ja tulkintojen subjektiivisuutta. Tutkimus osallistuu kuvan ja sanan vuorovaikutuksesta käytyyn vilkkaaseen keskusteluun ja kytkee Lars Sundin historialliset romaanit osaksi niin kansainvälistä, pohjoismaista kuin kotimaista traditiota. / Abstrakt Historiska romaner publiceras det rikligt av i Finland och genren är fortfarande populär bland läsarna. Under de senaste decennierna har både finländska och finlandssvenska författare behandlat sådana nationella smärtpunkter som inbördeskriget, vinterkriget och fortsättningskriget. I denna avhandling forskas Lars Sunds Siklax-trilogi: Colorado Avenue (1991), Lanthandlerskans son (1997) och Eriks bok (2003). Dessa romaner representerar den postmoderna historiska romanen, som det till dags dato skrivits relativt litet om i Finland och ännu mindre forskats i. Historiska romaner konstruerar nationell identitet och deltar i den kulturella och politiska dialogen om det förflutna och nutiden. Deras inverkan på läsarens inställningar kan vara stark, och därför är det nödvändigt att reflektera på de medel med vilka historien produceras och uttolkas. I avhandlingen analyseras på vilket sätt det förflutna representeras i Sunds romaner; historieuppfattningen samt relationen till historieskrivningen och till den historiska romanen som genre. Syftet är att redogöra för hurdant förhållande det finns mellan berättarmetoder och representationer av det förgångna. I undersökningen förenas ett narratologiskt, intertextuellt och kontextuellt betraktelsesätt. Det gäller att analysera romanernas berättarstrukturer samt intertextuella referenser till andra texter och till andra kulturella och sociala diskurser. Betraktelsesättet skildras bäst med begreppet kulturell narratologi (cultural narratology), som förenar drag av den klassiska och postklassiska narratologin. Detta betyder att romanens narrativa strukturer granskas som en aktiv kraft, vilken både reflekterar tidens kulturella diskurser och påverkar dem. Själva konstruktionen av Sunds historiska romaner framför epistemologiska frågor om den historiska kunskapens åtkomlighet och pålitlighet. Andra mediers närvarande på historiens och på diskursens nivåer, så som beskrivningar av fotografier och målningar eller filmiskt berättande, och åtskilliga intertextuella hänvisningar, betonar historiens polyfoni och tolkningars subjektivitet. Undersökningen kopplar Lars Sunds historiska romaner till internationell, nordisk och finländsk tradition. Dessutom anknyter analysen av Sunds visuella material undersökningen till den livliga diskussionen om samspel mellan ord och bild.

In this biographical study of the Finno-Swedish author Nanny Hammarström (1870 - 1953), a forgotten authorship is presented. Hammarström's work is placed in a literary and cultural context with the help of a comprehensive review of how the authorship is described in overview works on literature, reviews, and articles. The study concludes with an analysis of the reception regarding some of Hammarström's works with anthropomorphic (zoomanic) subjects as protagonists. / I denna biografiska studie över den finlandssvenska författaren Nanny Hammarström (1870 – 1953) presenteras ett bortglömt författarskap. Hammarströms böcker placeras i litterär och kulturell kontext med en omfattande genomgång av hur författarskapet behandlas i litterära översiktsverk, recensioner och tidningsartiklar. Studien avslutas med en analys av receptionen gällande några av Hammarströms verk med antropomorfa (zoomana) subjekt som protagonister. / <p>Slutgiltigt godkännandedatum: 2023-06-01</p>

The focus of this study is the two autobiographical novels Den högsta kasten (1997) and Djävulsformeln (2000) by Swedish author Carina Rydberg. Both novels generated lively public debate regarding how they ought to be read and understood, what genre they belonged to, and the ontological status of the narrating “I”. The aim is to investigate why the protagonist, Carina, is perceived as unintelligible by many readers and explore how she can be understood in relation to what constitutes an intelligible identity from a literary and cultural perspective. The novels, as well as their protagonist, are approached from the perspective of genre theory, the argument being that Carina’s unintelligibility is directly dependent on what genre she is read in relation to. In the first part of the thesis the ambiguities of autobiographical texts are discussed, and the narrative and protagonist are analyzed in relation to the autobiographical genre. In the second part of the thesis the consequences of reading the texts as examples of the Gothic with emphasis on monstrosity, the uncanny and sexual transgression are examined. The two readings demonstrate how interpretations of text and character are highly influenced by the reader's expectations connected to genre. Rydberg’s transgression of the norms of genre, gender, and identity leaves the reader with a contradictory set of genre-specific expectations, which in turn makes it difficult to understand and accept the protagonist. The main theme of both novels is Carina’s unsuccessful attempts to reconcile what she sees as two separate, essentially incompatible identities: woman and author. The final chapter includes a comparative study in which Rydberg’s novels are linked to works by other Swedish female writers, both past and contemporary, to demonstrate that the conflict of woman versus author is a common problem for female writers. The thesis closes with a discussion about the possibility of placing Rydberg in a specifically female literary tradition and demonstrate how a feminist analysis can make the unintelligible intelligible.

Uppsatsen syftar till att studera intertextualiteten i Bjarne Moelvs Helgas offer – dagboksroman om ett brott och Hjalmar Söderbergs Doktor Glas. Tyngden i analysen ligger på Moelvs roman, under det att Doktor Glas tjänar som belysande jämförelsematerial. Analysen består av tre delar där den textuella strukturen, perspektivet och berättarstrukturen undersöks. Resultaten visar att romanerna uppvisar flera stilistiska likheter men även tydliga skillnader när det gäller jagberättarens framställning. Moelv distanserar sig från det kvinnliga berättarjaget genom att begränsa henne till en iakttagare. Detta ger uttryck för en framställning som konstrueras ur ett genussystem där manliga normer slår igenom i representationer av kvinnor.

Das schreibende Ich prägt formal wie thematisch die literarische Entwicklung der letzten Jahre. Seit der Jahrtausendwende hat die Produktion autobiographischer und autofiktionaler Literatur insbesondere auf dem skandinavischen Buchmarkt erheblich zugenommen. Obwohl (noch) kein kritischer Konsens besteht, was der Begriff Autofiktion genau bezeichnet, ist das Changieren zwischen Fakt und Fiktion im autobiographischen Schreiben zu einer der beliebtesten literarischen Strategien im zeitgenössischen Erzählen avanciert. Die literaturwissenschaftliche Forschung zur Autofiktion ist im Zuge dessen auf diesen Trend aufgesprungen und insbesondere nach der Veröffentlichung von Karl Ove Knausgårds Romanprojekt Min kamp (2009–2011) sind die literaturwissenschaftlichen Diskussionen zu Autofiktion und literarischer Selbstdarstellung in Skandinavien deutlich angestiegen. Die literaturwissenschaftlichen Beiträge kreisen im weiteren Sinne um die dichotomischen Beziehungen von Fakt vs. Fiktion, Roman vs. Autobiographie sowie um die Inszenierung der Autor*innen in der literarischen Öffentlichkeit. Dabei ist autofiktionales Schreiben als konkrete erzählerische Praxis betrachtet in den Hintergrund gerückt, weshalb in dieser Arbeit der Versuch gemacht wird, die Fragen nach den literarischen Verfahren innerhalb dieser Texte in den Vordergrund zu stellen. Mit Ausgangspunkt in Texten von August Strindberg, Maja Lundgren, Karl Ove Knausgaard und Björn Rasmussen wird in dieser Arbeit Spezifika einer autofiktionalen Erzählpraxis herausgearbeitet, in welcher die Autorin oder der Autor in erster Linie einen narrativen Autoritätsanspruch über ihren bzw. seinen autobiographischen Text erhebt und hierdurch in der Bestrebung, die autobiographische Wirklichkeit zu schreiben, die Grenze zwischen Wirklichkeit und Literatur und somit zwischen Leben und Text transzendiert / Since the turn of the Millennium there has been a remarkable increase in the production of autobiographical and autofictional literature in Scandinavia. While there is (still) no critical consensus to what the term autofiction precisely designates, the oscillation between fact and fiction in autobiographical writings has emerged as one of the most favoured literary strategies when it comes to negotiating, (re)-constructing, and staging identity and individuality. The academic discussions about autofiction and autofictional writing in Scandinavia are mostly concerned with the opposed relations of fact/fiction, true/false, and novel/autobiography or with the mediatised performativity of the author in the public sphere. In this respect, the specific narrative practices of autofictional writing have taken a back seat in the academic exploration of autofiction. In this thesis it is examined how autofictional writing in selected novels by August Strindberg, Maja Lundgren, Karl Ove Knausgaard and Björn Rasmussen is being set forth within the narration of the text, a thus far unexplored research field. The analysis of the position of the author in his or her text enables us to see that the interplay of fact and fiction in the autobiographical text is predominantly conveyed by narrative strategies. The narrative presence of the author in the text entails specific self-reflexive practices, which can be identified through an increased use of narrative transgressions of the extradiegetic and diegetic discourses that allow the actual author of the text to slip into his narration. The narrative roaming between the reality of the author and the narration that he is producing is used as a means of taking over the authority of the individual life story and to write autobiographical on own subjective and aesthetic terms.

Astrid Lindgren is arguably the most famous Swedish author of all times, known for her chil­dren’s books about Pippi Longstocking, the Brothers Lionheart, Ronia the Robber’s Daughter, and many more. Subsequently, her works have been translated into over a hundred languages. In Sweden her books are recognized for their peculiar, playful language, and immersive imag­ination. This paper is examining how that style of writing is translated to other languages. Spe­cifically, Lindgren’s last novel Ronja Rövardotter (1981) and its translations to English, Ronia the Robber’s Daughter (1985), and Dutch, Ronja de Roversdochter (1982), are compared ac­cording to the particular elements that the novel uses to build its own unique feeling: the style of the narrator; the language of the characters; the names; and the illustrations. In the source text these four aspects collaborate to create a medieval fairy tale-like atmosphere, which espe­cially is accomplished by the transformative language which combines older colloquialisms and dialectic words with a poetic phrasing, which is simultaneously unique for this literary work and deeply rooted in Swedish tradition. This is difficult to properly translate to other languages, as it is built upon playfulness with a certain language and culture. Therefore, even though both translations are perfectly valid and retell the story adequately, they both are incapable of fully translating the style of the original. Besides that, other (more deliberate) changes are resulting in a different reading experience – i.e., the inclusion of illustrations, the narrator’s oral (origi­nal)/textual (translated) language, and whether Ronia flees from wild ‘vittror’ (north-Swedish gnome-like creatures), harpies, or bird–witches. Altogether, the English Ronia and the Dutch Ronja are significantly different from the Swedish Ronja, with their own styles, but attributed to the same original author.