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This thesis sets out to explore the lives of homosexuals in the AIDS epidemic in Sweden in Jonas Gardell´s trilogy Torka aldrig tårar utan handskar (Don´t Ever Dry Tears Without Gloves). How is queer space able to unfold in connection to concrete places? The thesis utilizes the perspective of queer theory, where the useful terms of queer space and heteronormativity are found.   The analysis is divided into two parts based on the important themes of life and death found in the trilogy. The metal ring at the central station called Bögringen (The Gay Ring) and other public places such as parks and streets make up the first part. It becomes evident that these spaces are vital to the very existence of the homosexual lives of the men in the book-series. In these places, they are able to create their own (queer) space, which exists in parallel to the heteronormative surroundings. The concrete spaces that become these queer spaces are nevertheless often challenged by their surroundings, both verbally and physically.   Funerals make up the second half of the analysis. Here, two opposite funerals are being looked closer at. These are the funerals of two of the most important men in the trilogy: Rasmus and Paul. In Rasmus´funeral, there is no room for anything (or anyone) that might be associated with homosexuality and AIDS – a queer lifestyle ­– at all, and the boyfriend and all the other friends of the deceased Rasmus are not welcome. Everything queer is banished. The other funeral, Paul´s funeral, celebrates everything that is different, and here, it is the heteronormative, conservative views and thoughts that are being pushed aside. This funeral brings hope (and power) to the queers.

Den här studien undersöker hur webbplatsen kan användas i syfte att förmedla en varumärkesidentitet hos företag inom kultursektorn. Fotografiska, en privat konsthall för samtida fotokonst, belägen i Stockholm, publicerar på sin webbplats texter om varje utställning som konsthallen arrangerar. Undersökningen utgår från antagandet att såväl den omgivande kontexten som innehållet i texterna bidrar till att skapa en varumärkesidentitet. Genom en multimodal och narrativ diskursanalys av webbplatsen och utställningstexterna analyserar jag hur denna identitet realiseras i samspelet mellan semiotiska och narrativa resurser och vilken bild den förmedlar av Fotografiska till betraktaren. Resultatet visar, enligt min tolkning, att Fotografiska använder webbplatsen i identitetsskapande syfte genom porträtteringen av fotokonsten och dess centrala aktörer som bärare av ett antal socioestetiska kärnvärden; minimalism, intellektualitet, exklusivitet, tradition och kunnighet. / This study examines how websites can be used for corporate branding purposes of institutions in the cultural field. It is based on my analytical findings on the website of Fotografiska, a gallery for contemporary fine art photography in central Stockholm. The thesis is based on the claim that both the surrounding context and the content of the exhibition texts plays a crucial role in the creation of a corporate brand for art galleries. Therefore my intention here is to show how Fotografiska all together use semiotic and narrative resources on their website in order to brand themselves. Supported by the findings from my sociosemiotic discourse analysis I argue that the extensive portraying of fine art photography and its key figures, maintains a few artistic core values that are characteristic for the branding of Fotografiska. Those are minimalism, intellectuality, exclusiveness, tradition and expertise.

This doctoral thesis approaches literary tourism initially from an historical perspective in order to define the phenomenon through a review of the existing academic literature in the field. The forms of literary tourism are analysed to provide a typology and from this the value of literary tourism is explained both from the visitor's point of view and the destination manager's. Current theories underpinning the existing literature on literary tourism, including Bourdieu's concept of cultural capital are reviewed. To extend the current state of research and to answer the research questions a case study of successful urban literary tourism is identified, in this case in Brittany, France. The uses of French literature in literary tourism are reviewed to provide a sound basis on which to examine French texts and tourist destinations. Novel methods of field research are developed to formalise and to make reproducible the methodology for this study and for future work drawing on, and seeking to combine both literary theory and ethnography. Following a pilot study on the French Riviera the full discovery instruments are designed and applied in fieldwork on the case destination, Concarneau, using the detective novel, The Yellow Dog, which is set in Concarneau. Analysis of the findings from this provide a new contribution to the field of literary theory, in the area of reader interpellation, and answer the research questions in the form of a new set of recommendations for DMOs and tourism stakeholders. From the empirical study that used Web 2.0 social media, only available since 2013, an analysis of which novels do stimulate literary tourism is presented for the first time. Out of the research process new methods have been evolved, and are presented in the conclusion, for the DMO to synthesise and leverage digital resources. This provides DMOs with interpretation processes for its managed heritage to use with its local stakeholders in hotels and in tourism businesses. Finally, an innovative conceptualisation of what constitutes tourism knowledge is proposed.

<p>This project presents a case study of postmodern trauma, working at the boundaries of the humanities and computer science to produce an in-depth examination of trauma writing in David Foster Wallace’s novel <i>Infinite Jest</i>. The goal of this project is to examine the intricacies of syntax and language in postmodern trauma writing through an iterative process I refer to as <i>broken reading</i>, which combines traditional humanities methodologies (close reading) and distant, computational methodologies (Natural Language Processing). Broken reading begins with close reading, then ventures into the distant reading processes of sentiment analysis and entity analysis, and then returns again to close reading when the data must be analyzed and the broken computational elements must be corrected. While examining the syntactical structure of traumatic and non-traumatic passages through this broken reading methodology, I found that Wallace represents trauma as gendered. The male characters in the novel, when recollecting past traumata or undergoing traumatic events, maintain their subject status, recognize those around them as subjects, and are able to engage actively with the world around them. On the other hand, the female characters in the novel are depicted as lacking the same capacities for subjectivity and action. Through computational text analysis, it becomes clear that Wallace writes female trauma in a way that reflects their lack of agency and subjectivity while he writes male trauma in a way that maintains their agency and subjectivity. Through close reading, I was able to discover qualitative differences in Wallace’s representations of trauma and form initial observations about syntactical and linguistic patterns; through distant reading, I was able to quantify the differences I uncovered through close reading by conducting part of speech tagging, entity analysis, semantic analysis, and sentiment analysis. Distant reading led me to discover elements of the text that I had not noticed previously, despite the occasional flaw in computation. The analyses I produced through this broken reading process grew richer because of failure—when I failed as an interpreter, and when computational analysis failed, these failures gave me further insight into the trauma writing within the novel. Ultimately, there are marked syntactical and linguistic differences between the way that Wallace represents male and female trauma, which points toward the larger question of whether other white male postmodern authors gender trauma in their writings, too. This study has generated a prototype model for the <i>broken reading </i>methodology, which can be used to further examine postmodern trauma writing.</p>

La tesi si propone di indagare l’intertestualità dantesca nell’opera volgare di Matteo Maria Boiardo. Il fenomeno è già stato oggetto di studi – indirizzati soprattutto al poema cavalleresco, e in misura minore (specie negli ultimi anni) al canzoniere lirico – che si sono mossi però nell’alveo dell’impostazione strutturalista, con una considerazione della memoria poetica da un punto di vista formalista e tipologico. Questa corrente ha consentito sviluppi importanti negli studi filologici, ma porta a vedere il fatto letterario staccato dal suo contesto di riferimento. Se questo esito in Italia è stato arginato da una forte base storicista, va detto che gli studi sulle riprese poetiche hanno però vissuto una situazione particolare. Da una parte, infatti, lo strutturalismo fra anni ’60 e ’70 ha imposto anche in Italia, attraverso una serie di importanti lavori, il suo modo di trattare la questione, senza poi che il successivo approdo semiotico incidesse in maniera significativa. Dall’altra, la reazione di chi voleva agganciare il fenomeno al dato storico ha riportato il problema all’impostazione erudita della critica delle fonti, privilegiando la raccolta dati da mettere in relazione con le informazioni sulla storia della tradizione e della circolazione. L’obbiettivo di questa tesi è fare un passo avanti, nella convinzione che per lo studio di questi fenomeni di riuso sia la circolazione manoscritta che i dati testuali e formali vadano letti in una piena prospettiva semiotica: guardare ai fenomeni di tradizione e trasmissione testuale nell’ottica dei processi ricettivi, e considerare le scelte di memoria poetica come atti comunicativi, con un valore pragmatico. La ricerca ha l’intento di giungere ad una maggior comprensione del rapporto del dotto poeta umanistico con il modello dantesco, un’interpretazione più chiara delle strategie di riuso, determinate dal particolare modo di leggere la Commedia nel contesto specifico, e perciò attraverso un preciso filtro fra quelli disponibili al tempo. Accanto all’insieme di informazioni filologiche sulle attestazioni manoscritte nelle biblioteche del tempo, l’indagine qui condotta consente – anche da un punto di vista che potremmo definire attributivo – di indicare in Benvenuto da Imola l’esegeta di riferimento per Boiardo e il suo pubblico, proprio perché l’osservazione ravvicinata dei testi e dei loro legami fa emergere questa tradizione interpretativa come la più attiva nell’elaborazione boiardesca rivolta ai lettori. Il lavoro non ha preso le mosse da un afflato teorico, teso a riconcettualizzare l’intertestualità, ma da un intento di chiarificazione sui testi e alcuni loro aspetti che non sembravano però trovare una spiegazione soddisfacente all’interno del quadro metodologico diffuso. Il lavoro, allora, ha assunto poco alla volta anche una vena metodologica sorta dall’osservazione dei fenomeni in modo nuovo. E così, accanto all’indagine storico-letteraria, e in stretta relazione con essa, è stato possibile avanzare alcune proposte ermeneutiche sui meccanismi intertestuali in base alle dinamiche della comunicazione letteraria. E nelle pagine che seguono il percorso si articola attorno a nuclei diversi ma interconnessi: da una parte la riflessione generale a carattere semiotico sui fenomeni di memoria poetica, che vengono concettualizzati grazie agli apporti di discipline come la pragmatica; segue una ricognizione storica sulle modalità di lettura e ricezione del modello dantesco – e non solo – in base alla circolazione dei testi e dei loro apparati esegetici; si arriva poi al nucleo del lavoro con l’affondo diretto su opere e paratesti esegetici con le loro relazioni, che si instaurano all’interno del laboratorio d’autore e poi da lì arrivano al pubblico.