The purpose of this essay is to examine which of new words presented in Nyordslistan are established in the language since 2012. Source text for this essay are seven Nyordslista published between 2012 and 2018. The study analyses the frequency of the new words in newspapers and on Twitter using two databases, Mediearkivet and Korp. The new words are divided in following categories: established words, common words, rare words and dead words. The analysis shows that 17 words from the lists are established in the newspapers and 16 are established on Twitter. 12 of those are mutual for both newspapers and Twitter. The rest of the established new words are still established but not in both forums. Common words contain 38 and 22 new words respectively. The biggest category is rare words; more than 50% words from each Nyordslista end up being rare and not established. Dead words is a small category that contains few words from Nyordslista 2012 to 2014 (with one word from 2015).  It’s determined in the theory chapter that frequency, distribution and meta signals are of great importance for determine the degree of establishment of the new word. Meta signals are used to introduce the word and its spelling, meaning and conjugation to readers in order to establish familiarity with the word and to ensure that the word is used in the same way by all readers. This is clearly evident in this study that established words frequency the year they are presented in Nyordslista contain below 30% meta discussion about the word while the frequency of common words contains between 30 and 80% meta discussion. / Syftet med denna studie är att undersöka vilka av de svenska nyorden som har etablerat sig i svenska tidningar samt Twitter sedan 2012. Uppsatsens källmaterial är nyordslistor som publicerats av Språkrådet mellan åren 2012 och 2018. Studien bygger på analys av nyordens frekvens i svenska tidningar samt Twitter med hjälp av Mediearkivet samt Språkbankens Korp. Undersökningen visar att 17 respektive 16 nyord har etablerats i tidningar respektive Twitter. 12 av dessa ord är gemensamma för båda källorna. De resterande etablerade orden är etablerade fast i varsitt forum. Kategorin vanliga ord innehåller 38 nyord i svenska tidningar respektive 22 nyord på Twitter. Den utan tvekan största kategorin är sällsynta ord. Mer än hälften av de ord som presenteras i Nyordslistan slår aldrig igenom och etableras utan används sporadiskt under året. Det är inte många ord som ingår i kategorin döda ord, speciellt inte från senare års nyordslistor, det är främst från 2012 till 2014 som de döda orden kommer från.  Teorikapitlet i uppsatsen fastställer att spridning och användningsfrekvens är väsentliga för ordens etablering i svenskan. Metasignaler används för att introducera orden, dess stavning, böjning och betydelse. Det märks tydligt i undersökningen av metadiskussion; hos de etablerade orden utgör metadiskussionen under 30% av ordets frekvens det året som ordet introducerades i Nyordslistan medan vanliga ord har en stor andel ord med metadiskussion, mellan 30–80%.

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This paper analyzes the concept of immortality as expressed in Stephenie Meyer’s vampire romance novel Midnight Sun (2021). By way of a comparison with the authors Mormon faith, I intend to highlight how the main characters portray key parts of LDS soteriology. Using Synne Myreböe’s notion of actualization (aktualisering) the paper considers Mormonism as a lens rather than as an institutionalized religion.  Although Midnight Sun makes use of numerous religious themes, it is in my opinion not to be regarded as a theological text. After all, Meyer is a novelist. Her religiosity motivates the questions posed by the study, but the connection between her writing and explicit Mormon theology is established by me. By making the Mormon concept of immortality a lens through which I view the material, I intend to highlight aspects of the narrative which otherwise would be less apparent.  Midnight Sun is a paraphrase of Meyer’s earlier work Twilight (2006). The latter tells the story of Bella, a student who falls in love with an ancient vampire called Edward. In Midnight Sun the story is inverted, making Edward the main narrator. Due to Midnight Sun’s disposition, my work relies on a resource not available to prior studies on Twilight, namely Edward’s voice. In this paper, I examine how the character relates to his father figure, thus paraphrasing the Mormon concept of priesthood.

This essay aims to examinate how the dead woman is described in three swedish crime fiction- novels. The novels included in my study is Stieg Larsson ́s Män som hatar kvinnor, Mons Kallentoft ́s Den femte årstiden and Lars Kepler ́s Stalker. The purpose of this study is to examine these questions: how is the dead woman described, how does the woman relate to prevailing norms in a sex-normative context, who is the dead woman based on socio-cultural identity and how can the killer ́s identity be understood in relation to the victim? Inspired by Judith Butler ́s performativity theory I assume a gender constructivist perspective, that gender is a social construction. I am also inspired of Maria Nikolajeva ́s gender role schedule, which shows what characteristics women are most often attributed in literature. I also add my own properties to the schedule. Thus, the result shows that the dead woman fulfills all conventional female standards. The dead woman is, based on the material, either an unwanted woman or an desired woman. The unwanted woman is subjected to sexual violence, something that the desired woman avoids. When the women are dead, they still meet conventional standards even though their bodies are completely destroyed by their perpetrators. The identity of the murderers can be understood from socio-cultural status and their motives. / Denna uppsats undersöker hur den döda kvinnan beskrivs i tre svenska deckare: Stieg Larssons Män som hatar kvinnor, Mons Kallentofts Den femte årstiden och Lars Keplers Stalker. Syftet med uppsatsen är att besvara dessa frågor: hur beskrivs den kvinna som ska dödas och som sedan dör, hur relaterar kvinnorna som ska dödas och sedan dör till rådande kvinnliga normer i en könsnormativ kontext, vem är den döda kvinnan och hur kan mördarens identitet förstås i relation till offret? För att besvara dessa frågor utgår jag från att kön är en social konstruktion och Judith Butlers performativitetsteori. Dessutom används Maria Nikolajevas könsrollsschema för hur kvinnor oftast skildras i litteratur. Resultatet visar att den döda kvinnan går att dela upp i två kategorier; den önskade kvinnan och den oönskade kvinnan. Båda kategorier av kvinnor relaterar till rådande kvinnliga normer. Den oönskade kvinnan har ingen plats i samhället, lever ensam och utsätts för sexuellt våld innan hon mördas. Den önskade kvinnan fyller en funktion i samhället, saknas av någon när hon dör och utsätts inte för sexuellt våld innan hon mördas. Den döda kvinnan uppfyller alla kvinnliga normer utifrån Nikolajevas schema, oavsett vilken kategori hon tillhör. Mördarnas identiteter går att förstå utifrån socioekonomisk status samt val av offer.

In Homer’s work Iliad, Achilles is harassed in the sleep by the ghost of his friend Patroclus who demands a burial by him to be able to find peace. From this we get an understanding of how important it was for the ancient Greeks that their dead were given a proper burial for the soul to enter Hades and be able to find peace. If the deceased body was not buried, the soul became restless that harassed and had the power to harm the living. Infants belong to the group of individuals that do not appear to have had any consistent way of how to deal with them after they died. Some of them did not receive anything even close to a burial that a deceased adult would have received. Why infants were handled differently in certain contexts and locations is a mystery and begs the question of whether they were not considered to be people when they died and what was required to be considered worthy of a funeral when being dead. The purpose of this study was to investigate whether infants ended up in Hades or not, with the ancient Greeks' view of death and dead bodies as a theoretical starting point. To fulfill the purpose, the following questions were asked; how were dead infants handled? Were they considered to be 'real' individuals? How do the dead infants relate to the notions of becoming restless dead? To be able to answer these questions, I researched material from three different categories of evidence. The discussion has been divided into archaeological, iconographical, and literary sources. There are many different answers to the questions of this thesis as the different sorts of source material indicate diverse answers and attitudes to infants. It all probably depends on the different geographical places, economy, and status in society. These different answers also generate different attitudes to infants and whether they in fact were a real person. But through this thesis I have displayed factors that can support my theory about infants in Hades and that they – in worst case scenario – could end up like restless dead.

Abstract of Master essay - 10 HP Izabel Lind Färnstrand Mentor: Emma Kihl Examinator: Sigrid Sandström How to Prepare for Death In this essay I dwell into the failures of our moral senses in relation to the concept of death. How does modern death culture affect our way of life and our ability to take responsibility for the life and death of others? These questions are formed by these current times and affect both my art practice and my everyday life. When facing death within my family it occur- red to me that my and my family’s relationship to death is failing us. I have become frustra- ted with the fear and silence that seems too natural to my surrounding. Not being able to talk about a part of life that is inevitable seems irrational. It became clear when the lack of under- standing and acceptance of death caused relatives an immense suffering. The struggle seemed unnessesary and urged me to try to understand more, based on their deaths. Seeing how very different the experience of dying can be made me wonder what makes a ”good” death possible for some and others not. From there my interest in the topic death culture and fear emerged, and this essay touches on this in a variety of aspects. I use my personal experiences in combina- tion with thoughts of others to talk of layers of these issues through my artistic practice. This personal method is my way of trying to structure a thinking – in a way that I can use and make sense of it – with a varied level of success. I feel it is important to note that I don’t claim to have any answes. This essay is more an attempt to pose questions around human behaviour. Even though many of these ques- tions have been asked over and over again, throughout different times, I believe it is impor- tant to ask them again and again. As long as the Human is part and violently effecting this suffering world. Many of the thoughts in this essay are based on fragments of ideas by Judith Butler, espe- cielly from her book Frames of War: When is Life Grievable? (2009). I also reference Caitlin Doughty’s From Here to Eternity: Traveling the World to Find the Good Death (2017) and and Sogyal Rinpoche The Tibetan Book of Living and Dying (1992). The themes gathered that I try to make use of in this essay and in my artistic practice are purpose, fear, death, health, happiness, narcissim and resposibility. / Abstract of Artistic work How to Prepare for Death @ Galleri Mejan, Exercisplan 3, october 2019 Media: Spatial installation with a performance (1 h) Materials: Clay, plaster, metal & red plastic film How to Prepare for Death is a spatial installation in one of the gallery rooms of Galleri Mejan. The work includes the whole space of the area, such as the floor and the walls. You step into an altered reality, where the floor is covered with clay that is cracking increasingly over time and windows that are tinted red so that the air you breath seems red. When you enter your eyes need to adjust and after a while it is rather the outside that seems colored, neon green -  the complementary color of red. From the clay there are metal rods sticking out vertically, with plaster sculptures at the end. These sculptures are broken, and resemble body parts with a medical aesthetics. Similar sculptures come out from the walls, like fragile fragments of something that used to be. When you walk around the sculptures the clay crackle under your feet, and crumble into smaller pieces and dust. It is constructed as an ambivalent experience of nothingness, emptiness, ”afterness” and a sanctuary of thoughts. My questions about life and death drive me to investigate how to create spaces for these subjects to feel present, so that we can face our fears.