Master's thesis describes the work of Bedřich Václavek in historical and sociological perspective. Bedřich Václavek was leading Marxist theorist, critic, esthetician, Germanist and folklorist. Its individual parts are treated at this thesis, like the evidence of his intellectual transformations over time. Emphasis is placed on a chronological line, which is accompanied by Václavek's work (criticism, theories, reflections, contributions in journals, collections and letter-writer). Thesis focuses primarily on the apparent controversy in his works, where it comes to transitions from one artistic direction of a second, while takes into account the historical background reflecting the social situation on which Václavek responds. Theses tried to offer a comprehensive view of the versatility of Václavek's works, but also for his detailed biography, especially from birth and throughout the study (until 1922), which is the period when constructing patriotic thoughts and relationship to folklore. Master's thesis offers a view of Václavek's contribution to the sociology of literature, what was the inspiration for some colleagues of Václavek and his followers. Key words: sociology of literature, Bedřich Václavek, criticism, social realism, folklore, Olomouc and Václavek.

Master's thesis describes the work of BedřichVáclavek in historical and sociological perspective. BedřichVáclavek was leading Marxist theorist, critic, esthetician, Germanist and folklorist. Its individual parts are treated at this thesis, like the evidence of his intellectual transformations over time. Emphasis is placed on a chronological line, which is accompanied by Václavek's work (criticism, theories, reflections, contributions in journals, collections and letter-writer). Thesis focuses primarily on summarizing on his work, where it comes to transitions from one artistic direction of a second, while takes into account the historical background reflecting the social situation on which Václavek responds. Theses tried to offer a comprehensive view of the versatility of Václavek's works, but also for his detailed biography, especially from birth and throughout the study (until 1922), which is the period when constructing patriotic thoughts and relationship to folklore. Master's thesis offers a viewofVáclavek'scontribution to the sociology ofliterature, whatwastheinspirationforsomecolleaguesof Václavek and hisfollowers. Keywords: sociology ofliterature, Bedřich Václavek, criticism, socialrealism, folklore, Olomouc and Václavek.

Paru en 2010, l’album 4,99 du groupe Alaclair Ensemble est reconnu par la critique comme l’acte fondateur du « post-rap », ou « nouveau rap québ », qui rassemble également les formations Dead Obies et Loud Lary Ajust. Alaclair Ensemble remplace ce terme par le néologisme « post-rigodon », ce qui annonce la dimension ludique de l’écriture du groupe ainsi que son mélange du rap et de la tradition québécoise. Comme le préfixe « post » indique l’emploi d’une « logique de la distinction » (Dubois, 1986, p. 44) par rapport au genre du rap, ce mémoire a pour objectif de décrire la singularité de l’esthétique « post-rigodon » d’Alaclair Ensemble et de saisir l’éthos du groupe ainsi que la « posture d’auteur » (Meizoz, s.d.) que supposent les termes « post-rap » et « post-rigodon ». Pour montrer comment la posture « post-rap » a permis le renouveau du rap québécois dans la décennie suivant la parution de 4,99, l’étude de l’œuvre du collectif grâce à la théorie du « marché des biens symboliques » de Pierre Bourdieu (1992), mise en relation avec l’analyse des textes à l’aide des hip-hop studies, révèle les compromis faits par Alaclair Ensemble entre un éthos hip-hop supposé « authentique » et un éthos d’artistes « purs » à la recherche de capital symbolique. Finalement, ce mémoire s’intéresse à la dimension « carnavalesque » de l’œuvre en se basant sur les travaux de Mikhaïl Bakhtine (1970) afin de comprendre les procédés qui créent l’aspect « absurde » du groupe. Cette approche triple de l’œuvre du collectif permet de montrer comment, à travers une poétique hybride, Alaclair Ensemble se crée une posture originale qui lui assure le succès autant dans la sphère du rap québécois que dans celle de la chanson québécoise. / Released in 2010, 4,99, an album by Alaclair Ensemble, is recognized by critics as the founding act of "post-rap" or "nouveau rap québ", which also includes groups such as Dead Obies and Loud Lary Ajust. Alaclair Ensemble replaces this term with the neologism "post-rigodon", which stresses the playful dimension of the group's writing as well as its mixture of rap and Québécois tradition. Considering that the prefix "post" indicates the use of a "logic of distinction" (Dubois, 1986, p. 44) in relation to the rap genre, this dissertation aims to describe Alaclair Ensemble's "post-rigodon" aesthetic in order to identify the group's ethos as well as the "authorial posture" (Meizoz, n.d.) implied by the terms "post-rap" and "post-rigodon". To show how the "post-rap" posture allowed for Quebec rap’s revival in the decade following the release of 4.99, the study of the collective work’s place through Pierre Bourdieu's theory of the "market of symbolic goods" (1992) and the textual analysis using hip-hop studies reveal the compromises made by Alaclair Ensemble between an "authentic" hip-hop ethos and an ethos of "pure" artists in search of symbolic capital. Finally, this dissertation focuses on the "carnivalesque" dimension of "post-rigodon" by drawing on the work of Mikhail Bakhtin (1970) to identify the processes creating the "absurd" aspect of the group. This threefold approach to the collective's work allows us to show how, through hybrid poetics, Alaclair Ensemble creates an original posture ensuring its success in Québec’s rap scene as well as in Québec chanson.

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The subject of this dissertation is the introduction and reception of science fiction literature in Sweden 1950–1968. Apart from considerations on science fiction as a genre and market category, and a brief survey of science fiction published in Sweden before the year 1950, the dissertation scrutinizes the Swedish publishers’ attempts at introducing both domestic and translated science fiction, the reception of the genre in Swedish literary criticism, the magazines Häpna! (1954–1966) and Galaxy (1958–1960), and the foundation of a Swedish science fiction fan culture. Science fiction was established as a category on the Swedish book market in the early 1950s, with several attempts to launch single works or whole series of mainly translated fiction. Between 1952 and 1968, roughly 30 publishing firms published over 160 books marketed as science fiction, with an apex in the late 1950s. Few publishers were successful, however, and most of the series were discontinued within just a few years of their inception. Meanwhile, in Swedish literary criticism, science fiction was increasingly perceived as a deficient form of commercial entertainment. A few of the exceptions were Harry Martinson (1904–1978), with his space epic Aniara (1956), and the translated author Ray Bradbury (b. 1920), who came to be considered as surpassing the boundaries of the genre. With the magazine Häpna!, a Swedish science fiction fan culture was contrived, with fans forming clubs, arranging conventions, disseminating fanzines, and, eventually, starting their own publishing firms and magazines. In the Swedish literary system, science fiction became a semi-separate literary circuit of production, distribution and consumption, and, concurrently, a growing autonomous subfield of cultural production, with its own forms of specific symbolic capital, doxa, and instances of consecration.

Lensemble des revues littéraires « modernistes et davant-garde » parues en Belgique immédiatement après la première guerre mondiale (jusquen 1922) est étudié dans une perspective dhistoire et de sociologie de la littérature. Lexemplification porte principalement sur les corpus des revues bruxelloises (LArt libre, Haro, Au Volant, Demain littéraire et social, Le Geste, Signaux de France et de Belgique, La Lanterne sourde, 7 Arts, Sélection) et anversoises de langue française (La Drogue, Lumière, Ça Ira). Une première partie de la thèse est consacrée à lexplicitation des choix théoriques et méthodologiques. Est dabord étudiée la place réservée à lobjet « revue littéraire » dans différents modèles de sociologie de la littérature (théorie des champs de Pierre Bourdieu, théorie de linstitution de la littérature de Jacques Dubois, études de la sociabilité intellectuelle). Reprenant la terminologie de Christophe Prochasson, lensemble des revues littéraires est appréhendé en terme de « réseau » (tissé entre différents « lieux » et « milieux »). Par sa plasticité, le concept de « réseau » désigne adéquatement lensemble des revues, espace ouvert et aux frontières floues, en permanente reconfiguration, hétérogène et déployé dans la durée. Le « réseau » des revues se développe dans une double dimension humaine (la revue comme lieu de sociabilité, comme milieu) et textuelle (la revue comme lieu de publication, comme instance éditoriale). Une seconde partie de la thèse présente dune part un panorama des revues littéraires belges pendant la première guerre mondiale (revues en Belgique occupée et revues du front) et dautre part la progressive reconstitution de lespace des revues après lArmistice. Dans cette période de transition, les enjeux esthétiques sont inféodés aux questions politiques à propos desquelles se positionnent les revues. Le débat principal (tant politique quarchitectural et littéraire) porte sur la question de la reconstruction du pays, conçue en terme de « restauration » par un pôle conservateur et en terme de « renouvellement » par un pôle moderniste et davant-garde. À travers létude des différentes prises de positions des revues du corpus sont encore abordées les problématiques du pacifisme et de la question flamande, toutes deux au croisement entre littérature et politique. Dans une troisième partie du travail, le réseau interpersonnel et intertextuel des revues littéraires est pris pour objet à travers lexamen des différents lieux et milieux qui le constituent. Létude des différents milieux imbriqués dans les corpus bruxellois et anversois est suivie dun chapitre traitant de questions matérielles concrètes (choix de format, modes de diffusion, financement, types de public visés). Abordées sous cet angle, les revues apparaissent non seulement comme des instances relevant de la vie littéraire, mais aussi comme des instances proprement « médiatiques ». Dans un troisième chapitre sont inventoriés les différents types de lieux où se déploie l« action dart » de ces revues (« centres dart », galeries et lieux dexpositions, tribunes médiatiques, maisons déditions). Le réseau des revues « modernistes et davant-garde » constitue une portion dun continuum plus large : les liens avec les revues et les milieux plus conservateurs sont discrets mais constants, tant sur le plan de limbrication entre les milieux que sur celui des appuis concrets sollicités par les revues « modernistes et davant-garde » pour assurer leurs conditions dexistence. La dernière partie propose un retour sur le modèle réticulaire, notamment sur les questions du déploiement du réseau des revues dans la durée, des enjeux historiographiques et du rapport de la littérature avec les autres champs. En conclusion générale, laccent est mis sur la période de transition de limmédiat après-guerre (1919-1922), où l« effet de réseau » est particulièrement perceptible, et sur lapport de la dissertation concernant les traits définitoires du modernisme et de lavant-garde, en ce qui concerne les revues littéraires.

At the centre of this study lies the question if normative gender thinking affects the way poetry gets reviewed and how the reviews are written, this in relation to both the gender of the reviewer and the poet. The study crosses three academic fields; gender studies, poetry and journalism, and is based on the cultural studies theory of media affecting and even creating the world around it. The study is based on two types of analysis. One quantitative analysis based on the thematic criticism theory about detail studies that shows bigger patterns, this analysis focuses on how the poet and his/hers work are being treated in the reviews in areas such as how much space they´re given in the newspapers, how they are named by the reviewer and the tendency to quote the reviewed work.  And one qualitative analysis based on the new criticism method of close reading, that focuses on the reviewers way of writing and how that may be connected with theories of gender differences, this both connected to the gender of the reviewers and the poets. The material chosen for this study are all the reviews that were published in the same newspapers and that reviewed two specific poetry works by two specific poets chosen with great sensibility to age and career so that their difference in gender would be the most significant difference between them. The works were chosen based on year of publishing, they were supposed to be published as newly as possible and as close to each other in time as possible. The works I ended up with were Dimman av allt (2001) and Svart som silver (2008) by Bruno K. Öijer and Silverskåp (2000) and Nu försvinner vi eller ingår (2007) by Birgitta Lillpers. The results of this study show several differences in how poetry is being judged and how poetry reviews are being written are connected with the gender of the poets and the reviewer. Lillpers got 35% less space in the newspapers and Öijers poetry got quoted a lot more which confirms that female poetry often is considered as less important than the male poetry, and that men in general tends to be judged as more professional than woman. The male reviewers tended to express themselves with greater certainty than the female reviewers who held a more professional tone in their reviews and focused more on the technical aspects of the poetry. This confirms the theory of the male words are being looked upon as the truth but contradicts the theory of women writing more based on personal experience and of women being less skilled in language techniques. In conclusion, there are differences in how poetry gets reviewed and how the reviews are written that are connected to the genders of the poet and the reviewer but these differences are complex and does not show a clear normative way of thinking about gender

I denna magisteruppsats undersöks Julia Donaldsons engelska bilderböcker i svensk översättning av barnboksförfattaren Lennart Hellsing. Huvudsyftet med denna studie är att avgöra om de svenska måltexterna även bär drag av Hellsings egen författarstil. För att kunna undersöka detta har Kårelands tidigare forskning (2002) om Hellsings litterära produktion använts för att ta fram stilvariabler. Dessa stilvariabler har sedan applicerats på måltexterna i denna fallstudie. Det teoretiska ramverket orienterar sig inom deskriptiv översättningsvetenskap och Tourys (1995) modell för rekonstruktion av översättningsnormer används. Detta möjliggör placerandet av källtexter (KT) och måltexter (MT) i en sociokulturell kontext. I den deskriptiva analysen jämförs KT med MT och översättning som begrepp förstås som något som omgärdas av översättningsnormer vid en viss tidpunkt och inom en viss kultur. Resultaten visar att Hellsings stil som författare återfanns i de översatta texterna och resultaten pekar även mot att översättningen av dessa texter kan ses som en acceptansinriktad praktik. / This master’s thesis looks at the translation of Julia Donaldson’s English picture books into Swedish by the Swedish children’s author Lennart Hellsing. The main aim of the study is to determine whether the translation of the original (source) texts involves the transference of Hellsing’s writing style into the translated (target) texts. Earlier research, carried out by Kåreland (2002), is employed in order to pinpoint Hellsing’s distinctive style as a writer. The style variables apparent in Hellsing’s own writing were thereby identified and these are applied to the analysed target texts in this case study. The theoretical framework is based on descriptive translation studies (DTS) and the use of Toury’s model (1995) for reconstructing translational norms allows the source texts (ST) and target texts (TT) to be put into a sociocultural context. By working within this framework a descriptive analysis is used to describe and compare the ST and TT and the concept of translation as a practice governed by certain translational norms at a certain moment in time and within a certain culture is applied. The findings show that Hellsing’s style as a writer can also be detected in his translations of Donaldson’s picture books. The results of this case study also indicate that the translation of these texts can be considered to be a target culture oriented practice.

The aim of this thesis is to map and analyse literature written by authors with a Hungarian-language background who moved to Sweden between 1945 and 2015, and who have published literary works in book format. From the perspective of the sociology of literature, this thesis focuses on publishing channels and possibilities, the authors’ and their works places in the literary value system and feed-back in the form of reviews, but also choice of language, theme, and genre. The approach of the research for this thesis is new in Hungarian and Swedish literary studies, as the literary works are analysed irrespective of the language in which they are written. The research corpus consists of both Hungarian and Swedish literary works and one book in English. The second chapter presents the research that Hungarian researchers have conducted on Hungarian migration literature and offers an overview of the questions and results arising from this research. The authors with a Hungarian-language background in Sweden were divided into four groups, based on the time of their migration to Sweden. Four chapters, which comprise the analytic part of the thesis, present and analyse the author groups and their literary activities regarding language, purpose of any code-switching, chosen theme, and genre. The first group consists of authors who migrated to Sweden during the decade after the Second World War (1945–1955). The second group came between 1956 and 1958 in the aftermath of the Hungarian Revolution of 1956. The third group consists of Hungarians who moved to Sweden during the communist era, between 1959 and 1989. Finally, the fourth group came after the fall of communism (1990–2015). As many as half of the authors chose either Hungarian or Swedish as their language and there are surprisingly few authors working in both languages. The publishing channels depend on the literary works language and theme, and only half of the books have been published at established publishers. The literary works of these authors are categorized as Swedish-Hungarian migration literature. Literary history works until now have neglected these type of literatures, but it is imperative that the study of literature finds a way to acknowledge, include, position, and group them.

En nous situant dans un horizon critique qui associe à la considération de la trajectoire socio-culturelle de tout auteur l’étude de ses prises de position artistiques et des propriétés distinctives de son oeuvre, nous proposons dans cette thèse une relecture de la production littéraire précoce de Cesare Pavese, relative aux années Trente. Le choix de cette production - Ciau Masino, Lavorare stanca et Il carcere - sûrement moins étudiée, à l’exception du livre de poésie, par rapport aux oeuvres postérieures, permet de déplacer l’intérêt critique du côté de la genèse stylistique pavésienne. Légitimé par son travail de traduction de la littérature anglo-américaine, Pavese présente déjà, à ce stade, une « vocation mélodique » (Mutterle) originaire et originale, caractérisée par l’interdépendance systématique entre poésie et prose.Cette recherche se pose comme objectif de montrer que l’oeuvre poétique pavésienne entretient des relations étroites d’interaction et de correspondance avec sa prose narrative, à travers la construction d’un possible invariant rythmique. Le dépassement de l’opposition stérile poésie/prose favorise l’établissement d’une entreprise littéraire qui, envisageant le rythme en tant qu’élément unificateur qui structure à la fois la mise en forme, son contenu et sa valeur éthique, serait pleinement du côté du sujet qui l’écrit et de l’auteur qui l’énonce. / In this thesis, we offer a reinterpretation of the early literary production of Cesare Pavese, in the 1930s. We do so by placing ourselves in a critical horizon that considers the socio-cultural trajectory of the author and by studying his artistic stances, as well as the distinctive qualities of his work.Our choice consists of three works - Ciau Masino, Lavorare stanca and Il carcere - which are among the less studied, excepted for the second one, of his writings (as opposed to his later works), and allows us to move the critical interest toward the genesis of the style of Pavese. Legitimized by his translations of Anglo-American literature, Pavese possesses already, at this stage, an original and pure «melodic vocation» (Mutterle), characterized by the systematic interdependence between poetry and prose.This research aims to show that the poetic work of Pavese is in a close relationship of interaction and correspondence with his narrative prose, through the construction of a possible rhythmic invariant. Reaching beyond the sterile opposition of poetry/prose goes in favour of establishing a piece of work that would stand fully by the side of the subject who writes and the author who expresses himself, by taking in consideration the rhythm as an unifying element, structuring at the same time the textual shaping, the contents and the ethical value of that work.