This study examines heteroglossia and the dialogic nature of Sheila Heti’s novel Motherhood, published in 2018. The novel features a main character who muses on the question of whether or not to have children, the novel ending with her nearing the age of 40 and deciding not to try and become a mother. Through the use of M.M. Bakhtin’s theory of the novel as a dialogic medium, as well as Anne Herrmann’s theory on the female dialogic, the purpose of the study is to look at the way in which the main character comes to the conclusion not to have children. The novel is read through the lens of the languages and voices of different characters, determining whose language is allowed to be the dominant one, and the effect of these languages on the main character’s decision-making.

The aim of this essay is to investigate to which extent the novel Kvinnor och äppelträd by Moa Martinson can be classified as a polyphonic novel. The concept polyphony was established in literary theory by the Russian language theorist and literary critic Michail Bachtin in 1929, in his book Problems of Dostoevsky’s poetics. In order to understand and comprehend the concept of polyphony I have used an interpretation due to the literature scholar Robyn McCallum. She notes that the characters in a polyphonic novel function as focalizers. All fictional characters create their own basis of social, cultural and ideological opinions and values, from which they provide their particular perspective on the story. Therefore, when fictional characters and their socio-ideological viewpoints intersect, a rather complex structure of interaction, dialogues and intersubjectivity is created between them.  Kvinnor och äppelträd is according to the most prominent scholar in the field, Ebba Witt-Brattström, a polyphonic novel. Her presumption is based upon the plurality of voices that is expressed in the novel, and the ambiguous interaction between them. However, to the best of my knowledge, no profound investigation of the novel’s polyphonic structure has yet been undertaken, and therefore this essay is dedicated to this task. For this purpose I have performed an analysis of the narratology in the novel, resulting in the overall conclusion that Kvinnor och äppelträd is indeed a polyphonic novel. Since the concept of polyphony also implies a modernistic feature, one can discuss the fact that Kvinnor och äppelträd has been classified as working class literature, and not modernistic literature. The final conclusion of the essay is that the complex polyphonic structure of the novel, and its controversial and pioneering content, have been underestimated and ignored. Regarding this aspect Moa Martinson should have been categorized under the Swedish literary modernism.

<p>Barnfilmen har länge haft en undanskymd plats inom filmteori. Man har tidigare intresserad sig för den i termer av ideologisk påverkan eller pedagogisk nytta alternativt onytta, men intresse för frågor som rör mer specifika textmekanismer har hittills dröjt. En sådan fråga är, exempelvis, hur barnfilmen konstruerar eller implicerar sin egen åskådare. Med tanke på att motsvarande problema¬tik har dragit till sig många barnlitteraturforskares intresse, är det märkligt att en liknande omsorg inte har uppstått inom barnfilmstudier.</p><p>Mot denna bakgrund, är denna studies syfte att utforska några samtida animerade barnfilmtexter för att förstå hur de relaterar sig till en tilltänkt publik. Filmerna i fokus är Shrek (Andrew Adamson, Vicky Jenson, 2001), The Incredibles (Brad Bird, 2004), Shark Tale (Bibo Ber¬geon, Vicky Jenson, Rob Letterman, 2004) och Madagascar (Eric Darnell, Tom McGrath, 2005). Med hjälp av bacthinska begrepp så¬som dialogism, parodi, heteroglossia och karneval undersöks berättelsens struktur och ton; möjliga åskådarpositioner; textmekanismer som möjliggör samlevnaden av olika tolkningsalternativ i en och samma mainstreamfilm.</p><p>I uppsatsen argumenteras för att filmerna bättre kan förstås som ambivalenta texter, som både upprepar och ifrågasätter typiska barnkulturella berättarstrukturer och motiv. De erbjuder möjlig¬heten till en lineär, traditionell tolkning av filmernas barnkulturella teman och en parodisk omvandling av dessa. Samtidigt anspelar de också till texter och praktiker som ligger utanför barnkulturens gränser, vilka också behandlas parodiskt. Detta öppnar ut¬rymme för flera möjliga läs¬arter och tilltalar en tilltänkt heterogen publik, framför allt i fråga om ålder. De olika åskådarpositionerna kan leva tillsammans i en och samma text förhållandevis friktionsfritt, tack vare att filmerna erbjuder en upprorisk och gränsöverskridande upplevelse, som här betecknas som karnevalisk.</p>

<p>The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.</p>

The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.

Barnfilmen har länge haft en undanskymd plats inom filmteori. Man har tidigare intresserad sig för den i termer av ideologisk påverkan eller pedagogisk nytta alternativt onytta, men intresse för frågor som rör mer specifika textmekanismer har hittills dröjt. En sådan fråga är, exempelvis, hur barnfilmen konstruerar eller implicerar sin egen åskådare. Med tanke på att motsvarande problema¬tik har dragit till sig många barnlitteraturforskares intresse, är det märkligt att en liknande omsorg inte har uppstått inom barnfilmstudier. Mot denna bakgrund, är denna studies syfte att utforska några samtida animerade barnfilmtexter för att förstå hur de relaterar sig till en tilltänkt publik. Filmerna i fokus är Shrek (Andrew Adamson, Vicky Jenson, 2001), The Incredibles (Brad Bird, 2004), Shark Tale (Bibo Ber¬geon, Vicky Jenson, Rob Letterman, 2004) och Madagascar (Eric Darnell, Tom McGrath, 2005). Med hjälp av bacthinska begrepp så¬som dialogism, parodi, heteroglossia och karneval undersöks berättelsens struktur och ton; möjliga åskådarpositioner; textmekanismer som möjliggör samlevnaden av olika tolkningsalternativ i en och samma mainstreamfilm. I uppsatsen argumenteras för att filmerna bättre kan förstås som ambivalenta texter, som både upprepar och ifrågasätter typiska barnkulturella berättarstrukturer och motiv. De erbjuder möjlig¬heten till en lineär, traditionell tolkning av filmernas barnkulturella teman och en parodisk omvandling av dessa. Samtidigt anspelar de också till texter och praktiker som ligger utanför barnkulturens gränser, vilka också behandlas parodiskt. Detta öppnar ut¬rymme för flera möjliga läs¬arter och tilltalar en tilltänkt heterogen publik, framför allt i fråga om ålder. De olika åskådarpositionerna kan leva tillsammans i en och samma text förhållandevis friktionsfritt, tack vare att filmerna erbjuder en upprorisk och gränsöverskridande upplevelse, som här betecknas som karnevalisk.

Syftet med min uppsats är att granska Tove Janssons stilistiska drag i hennes sätt att skriva ur ett barns perspektiv. Utifrån mitt undersökningsmaterial vill jag belysa en stor förändring mot vuxenförfattarskapet i Tove Janssons sätt att skriva. Jag vill med med min analys utröna hur Tove Jansson gestaltar barnets upplevelse av tillvaron: det mytiska och magiska mitt i vardagen, spänningen mellan trygghet, skräck och den gränslösa fantasin. Min uppsats är uppdelad i två delar. I den empiriska analysen förklarar jag begrepp och termer ur kunskapsmässigt etablerade teorier, som är relevanta för min senare analys. I den andra delen, den analytiska undersökningen, förenar jag de teoretiska delarna med min analys kring Tove Janssons språkanvändning och termer som föder hennes stilgrepp.

Sara Lidman’s first novel, Tjärdalen (The Tar Pit, 1953), addresses ethical issues in a remote village in the north of Sweden. This essay discusses the novel’s narrative technique and the ethical aspects implied by the narration and aesthetic design. The approach is based on Adam Zachary Newton’s narrative ethics, which links narrative theory and method with an ethical perspective. Mikhail Bakhtin’s literary theory and Gérhard Genette’s concept of focalization are starting points for the analysis. The ethical framework is drawn both from Bakhtin and from philosophers Martin Buber and Emmanuel Levinas. This means that responsibility is a more important concept than the collective and individual guilt that has been the focus of some interpretations of the novel. Furthermore, in the essay, the concept of dialogue is both a narrative technique and an ethical position, thus knitting together the different parts of the essay: how ideas, voices, faces and eyes meet and how the village interacts with the outside world. Tjärdalen’s design opens to a polyphonic analysis and the essay examines how the text’s ethical and intersubjective emphasis grows out of the composition – out of the arrangement of scenes and viewpoints. The dialogue between multiple voices continues in the representation of the characters’ inner life. Petrus’ character is constructed as open and questioning, inviting discussion, persuading and arguing rather than dictating. In the essay this way of life is defined as dialogic, as opposed to the monologic positions of characters like Blom and Albert. The essay finds, however, that the strong position of the narrator dilutes the polyphonic pattern. The examination of the narrator explores both her loyalties and the attitudes and worldviews that she rejects. Particular emphasis is placed on the analysis of Jonas’ character, as the plot starts and ends with his eyes. The symbolism of the eyes and of the face forms a parallel structure in the text, giving the ethical discussion a depth not achieved by rational dialogue and reflection. In the essay, this level is interpreted by Levinas’ ethics, where the face and the eyes represent a call to responsibility. At the end of Tjärdalen, the ethical questions are transferred to the wider society outside the village. The analysis explores two lines in this shift: One is how the spatial organisation of the narrative and the unchanging quality of the village life leads to a circular composition. The other is how the text brings social criticism back to its origin in interpersonal relationships: to meetings face to face and to the responsibility for the “other” that, according to Levinas, Buber and Bakhtin, is the basis of these encounters.

This thesis deals with the ways to create narrative space and its function in two novels of psychological fiction: 'Vlčí jáma' written by Jarmila Glazarová, and 'Helimadoe' by Jaroslav Havlíček. The narrative space is studied from the point of view of the relationship to the character, which is the central focus of psychological fiction. The first part of the thesis includes characteristics of respective characters based on the concept of chronotopes devised by Michail M. Bachtin. Following that, the thesis addresses the narrative approaches represented by theorists such as Marie-Laure Ryan, who focuses on cognitive maps as mental models of spatial relations, and Gabriel Zoran. Particular focus is devoted to the spatial frames put forward by Ruth Ronen, which can be used to observe all characteristics of narrative space. The thesis evaluates the possibilities of narrative space analysis for the interpretation of the selected works of psychological fiction, and compares the contribution of the different approaches to the research of narrative space. KEYWORDS Helimadoe, Vlčí jáma, narrative space, chronotope, Michail M. Bachtin, spatial frame

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