More than 800 000 people take their own lives every year, this effects over five million people – family, friends and acquaintances. To report about this requires knowledge and careful consideration about how and what to write, therefore it is crucial to understand how journalists and news chiefs talk and think about their suicide reporting. And why they do or do not report about suicide. Therefore, four journalists and two news chiefs from two different newspapers have discussed 15 questions about their suicide reporting in group interviews at each editorial office. During these interviews it became clear that journalists and news chiefs discuss suicide reporting more often when a suicide actually happens, but seldom otherwise. This behaviour is more or less explainable in terms of social responsibility theory, news valuation theory and the theory of professionalism. Some conclusions drawn from this was that research in this area must continue and that media theories are insufficient when it comes to suicide reporting.

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This study explored the reading-subjects relationship to reading and texts, and if this relationship, through metaphors, could be compared to that of a parasite or a symbiosis. In other words the question that was asked was; can the reading-subjects relationship to the written text be compared to that of a parasite and it’s host, or is the relationship more similar to that of a symbiosis? The method for the study has been to find and compare different views on reading and text, that has been presented by a series of different theoreticians. The author’s whose work the study is based upon are Anders Johansson and his studies concerning “good” and “evil”, Martin Borgs work on propaganda and Iser Wolfgangs book The implied reader. The analysis is also based of the worldview presented by the characters in Ray Bradbury’s novel Fahrenheit 451. In conclusion, the parasitic and symbiotic metaphor, could be applied and seen in each off the works listed above, it is however not possible to fully say the relationship is closer to one or the other. Each text works in a network of other texts with all different background and intentions. To be able to fully understand the relationship – further studies must be made.

Der Ausgang des Romans Die Leiden des Jungen Werther (1774, von Johann Wolfgang von Goethe) wird beim ersten Anblick oft als tragische Folge einer unglücklichen und unerwiderten Liebe zu Lotte angesehen. In dieser vorliegenden Arbeit wird der weit erforschten Frage der Unvermeidbarkeit des Suizids im Werk eine alternative Deutung geliefert. Diese ist außerhalb des Romans angesiedelt, und zeigt, dass der Suizid schon in der Epoche angelegt ist.

La découverte d’œuvres du Sturm und Drang et de la tendance sentimentale (allemande et anglaise) fut pour le jeune K. Ph. Moritz une expérience déterminante, aussi bien pour le développement de sa personnalité que pour ses débuts comme écrivain. Nous avons entrepris d’étudier les différentes « traces » laissées par cette littérature dans les écrits de l’auteur, ainsi que leur évolution, notamment dans le cadre d’une pratique de l’intertextualité transformant de simples « réminiscences » littéraires en procédés d’écriture maîtrisés, voire même en « tableaux poétiques ». Nous analysons tout d’abord la réception du Sturm und Drang et de la tendance sentimentale par Anton Reiser (« double » du jeune Moritz) comme lecteur, poète et spectateur, réception « mise en scène » par l’auteur dans son roman autobiographique Anton Reiser. Nous tentons ensuite de montrer comment Moritz, entre 1780 et 1790, prend de la distance avec « l’enthousiasme » caractérisant sa réception de jeunesse de ces courants, sur lesquels il pose désormais un regard « éclairé » et objectif, depuis son point de vue d’écrivain, de critique littéraire et de psychologue empirique des « Lumières tardives », rejetant l’outrance dans le tragique, critiquant la Schwärmerei et observant les « maladies de l’âme ». Enfin, nous consacrons notre dernière partie au point de vue « esthétique » depuis lequel Moritz considère certaines œuvres du « temps des génies » (particulièrement Les Souffrances du jeune Werther), qui trouvent également leur place dans la théorie littéraire de l’auteur (exposée dans plusieurs écrits publiés après son séjour en Italie, entre 1792 et 1794), et dans sa pratique de la description de paysages. / To discover works from the Sturm und Drang (« Storm and stress ») movement and from the sentimental trend (German and British) was a determining experience to the young Karl Philipp Moritz, for the development of his personality as well as for the beginning of his career as a writer. The present study aims at researching the « traces » left by this literature in Moritz’ work, and their evolution, in particular through intertextuality, which transforms simple literary « reminiscences » into mastered literary techniques, even into « poetic pictures ». First we analyse the reception of the Sturm und Drang and of Sentimentalism by Anton Reiser (« double » of Moritz in his youth) as reader, poet and spectator, reception « represented » by Moritz in his autobiographical novel Anton Reiser. We then examine how the author, between 1780 and 1790, distances himself from his former « enthusiastic » reception of those literary trends: from now on, he considers them from his « enlightened » and objective point of view as a novelist, a dramatist, a critic and an empirical psychologist of the « Late Enlightenment », rejecting excesses in tragedy, criticising the Schwärmerei and studying the « diseases of the soul ». The last part of our study is devoted to the « aesthetic » point of view, from which Moritz considers some works from the sentimental trend and from the Sturm und Drang (in particular The Sorrows of the Young Werther), which have also found a place in the literary theory of the author (expounded in several writings published between 1792 and 1794, after Moritz’ stay in Italy) and in his pratice of landscape description.