Syftet med studien är att analysera hur svarta barn gestaltas i barnlitteraturen. Böcker som kommer att analyseras är följande: Pippi i Söderhavet och Superhjälteprinsessan. Vidare kommer det att undersökas om hur gestaltningen skiljer sig åt tidsepokerna 1948–2022. Metoden som har använts är en kvalitativ textanalys. Studien grundar sig på ett postkolonialt perspektiv. Resultatet och slutsatsen visar på skillnader i synen på representationen av svarta barn beroende på tidsskillnaderna.

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The word "necrophilia" brings a particular definition readily to mind – that of an act of sexual intercourse with a corpse, probably a female corpse at that. But the definition of the word did not always have this connotation; quite literally the word means "love of the dead," or "a morbid attraction to death." An examination of nineteenth-century literature reveals a gradual change in relationships between the living and the dead, culminating in the sexualized representation of corpses at the close of the century. The works examined for necrophilic content are: Mary Wollstonecraft’s Mary, A Fiction, Mary Shelley’s Frankenstein, Emily Brontë’s Wuthering Heights, and Bram Stoker’s Dracula and The Jewel of Seven Stars.

The aim of this thesis is to show that Emily Dickinson was not concerned with the publication of her poems and she herself decided to withdraw from the outside world, a decisive event which contributed to the original production of her almost eighteen hundred poems and over eleven hundred letters. Emily Dickinson withdrew into her untouched private world – which here is called “the bubble” – and developed the contemplation process based on the approach of apprehending perceptions which resulted in the instant captions that have enchanted readers. Since her withdrawal was as a result of her own free choice and own writing and living conventions, she was able to be the craftsperson that enjoyed living and writing. Her perception of nature by taking instant captions of the observable natural objects is perfected by the process of contemplation developed in some of her poems. The theoretical and methodological basis of the study comes from the analysis of the complete edition of poems edited by Thomas H. Johnson, the letters edited by Mabel Loomis Todd, and the concept of Nature by Hans Georg Schenk. For the analyses of different issues related to Dickinson’s verses, withdrawal, and apprehension of perceptions, the works of the biographer Richard Benson Sewall and critics such as Albert Gelpi, Barton Levi Armand, Karl Keller, Sharon Cameron, among others, were consulted. This study aims to demonstrate that Emily Dickinson was not concerned with publication and her withdrawal within her bubble was a positive event for her life and poetry. Such conclusion might contribute to enlighten the knowledge about the life and work of such an amazing personage of American Literature and American society as Emily Dickinson has been so far.

L’objectif de cette thèse est de montrer que le mouvement constitue le principe fondateur de la démarche intellectuelle et poétique d’Emily Dickinson (1830-1886). Mis au service d’une pensée qui ne cessa de se remettre en question et de combattre les certitudes et les schémas (culturels, religieux…) établis, le mouvement se révèle être une arme de déstabilisation et de déconstruction critique visant à discréditer tous les systèmes de pensée et de croyances jugés autoritaires et « dogmatiques », au sens fort où l’entendaient les sceptiques anciens, avec lesquels Dickinson présente d’évidentes affinités. Mais le mouvement apparaît également comme un principe vital et un agent de construction dans les poèmes : il permet d’élaborer, par voie de réécritures subversives et de détournements subtils, une approche du monde, de la connaissance et de la foi, qui vise aussi bien à légitimer la puissance de la pensée et de l’expérience individuelles qu’à rendre compte de ce que l’incertitude, l’instabilité et le changement sont l’essence même de la pensée et de la vie. Située au croisement de la poétique, de l’épistémologie et de l’approche dite « culturelle », cette thèse se propose d’examiner les formes du mouvement présentes dans l’œuvre de Dickinson en les mettant en regard d’une scène nationale elle-même mouvementée, placée sous le signe de la rupture, de la crise et du doute, mais également portée par un élan de libération et de renouveau qui vit l’émergence de nouvelles forces (politiques, économiques, sociales, culturelles) qui entendaient valoriser et défendre la liberté et l’épanouissement individuels. / The aim of this thesis is to demonstrate that the fundamental poetic and intellectual principle in the work of Emily Dickinson (1830-1886) is movement. In the service of an intellect that constantly questioned and challenged the established religious and cultural frameworks, movement firstly reveals itself to be a weapon of destabilisation and critical deconstruction : indeed, it aims to discredit and overturn systems of thought and beliefs deemed authoritarian and dogmatic, the latter in the strong sense as understood by the ancient sceptics, with whom Dickinson had obvious affinities. Movement however also appears as a vital principle and a constructive agent within her work : through subversive rewritings and subtle deviations, it enables the elaboration of an approach to the world, knowledge and faith, which seeks as much to legitimise the power of individual experience and reflection, as to acknowledge that uncertainty, instability and change are the very essence of thought and of life. At the intersection of poetics, epistemology and cultural studies, this thesis thus examines the forms of movement present in Dickinson’s work, by considering them alongside a turbulent national context, itself characterized by rupture, crisis and doubt, but equally impelled by a momentum towards liberation and renewal, which saw the emergence of new forces (political, economic, social, cultural) valorising and defending the freedom and flourishing of the individual.

The aim of this thesis is to show that Emily Dickinson was not concerned with the publication of her poems and she herself decided to withdraw from the outside world, a decisive event which contributed to the original production of her almost eighteen hundred poems and over eleven hundred letters. Emily Dickinson withdrew into her untouched private world – which here is called “the bubble” – and developed the contemplation process based on the approach of apprehending perceptions which resulted in the instant captions that have enchanted readers. Since her withdrawal was as a result of her own free choice and own writing and living conventions, she was able to be the craftsperson that enjoyed living and writing. Her perception of nature by taking instant captions of the observable natural objects is perfected by the process of contemplation developed in some of her poems. The theoretical and methodological basis of the study comes from the analysis of the complete edition of poems edited by Thomas H. Johnson, the letters edited by Mabel Loomis Todd, and the concept of Nature by Hans Georg Schenk. For the analyses of different issues related to Dickinson’s verses, withdrawal, and apprehension of perceptions, the works of the biographer Richard Benson Sewall and critics such as Albert Gelpi, Barton Levi Armand, Karl Keller, Sharon Cameron, among others, were consulted. This study aims to demonstrate that Emily Dickinson was not concerned with publication and her withdrawal within her bubble was a positive event for her life and poetry. Such conclusion might contribute to enlighten the knowledge about the life and work of such an amazing personage of American Literature and American society as Emily Dickinson has been so far.

Esta dissertação focaliza dois textos do escritor William Faulkner, considerado pela crítica como um dos expoentes das experimentações modernistas. O primeiro a ser estudado aqui é A Rose for Emily, uma short story publicada em 1930; o segundo é Absalom, Absalom!, um romance de 1936. O objetivo é investigar se no trabalho de Faulkner pode ser encontrado um narrador por excelência, partindo do conceito apresentado por Walter Benjamin em seu estudo The storyteller: reflections on the works of Nikolai Leskov. Minha proposta é levantar a questão do fim da comunicabilidade da experiência do narrador para então sugerir que, ao contrário do que Benjamin afirma, a arte de narrar não chegou ao fim. Meu argumento é de que as narrativas de Faulkner evidenciam sua arte de narrar imbricada com seu uso de ponto de vista. A experiência e a experimentação de Faulkner enquanto escritor são investigadas neste trabalho, principalmente sua manipulação do uso de ponto de vista, e são analisadas à luz de conceitos desenvolvidos por Walter Benjamin, Wayne Booth, Gérard Genette, Mieke Bal, entre outros. Os resultados desta pesquisa destacam que o trabalho de Faulkner com ponto de vista pode ser considerado muito mais que um mero experimento modernista, pois sua experiência como escritor proveniente do Sul dos Estados Unidos tem impacto nessa experimentação. A memória individual e coletiva, a transmissão de experiência, o contar e o recontar de histórias dos narradores, são fatores importantes para a construção de significado nas narrativas estudadas. Além disso, ao discutir a significação de sua obra, tanto no aspecto formal quanto no aspecto relativo ao contexto geográfico e literário de seu tempo e lugar, espero contribuir com mais um olhar sobre as estratégias narrativas de Faulkner, escritor que, ainda hoje, fomenta investigação e produção acadêmica significativa, justamente por conseguir construir círculos narrativos que apresentam narradores por excelência. / This thesis brings into focus two texts by William Faulkner, a writer who has been praised as one of the exponents at modernist experimentations. The first one to be studied here is A Rose for Emily, a short story published in 1930; the second is Absalom, Absalom!, a novel from 1936. The objective is to investigate whether a genuine storyteller can be found in Faulkner‘s work, supported by the concept presented by Walter Benjamin in his essay The storyteller: reflections on the works of Nikolai Leskov. My aim is to raise the question of the end of communicability of experience in order to suggest that, contrary to what Benjamin affirms, the art of storytelling has not reached its end. My argument is that Faulkner‘s narratives evidence his storytelling art as being imbricated with his use of point of view. Faulkner‘s experience and experimentation as a writer are investigated here, principally his manipulation with the use of point of view, and they are analyzed in the light of the concepts developed by Walter Benjamin, Wayne Booth, Gérard Genette, Mieke Bal, and others. The results of this research highlight that Faulkner‘s work with point of view is to be considered much more than merely a modernist experimentation, because his experience as a writer from the South of the United States has impact on this experimentation. Individual and collective memory, transmission of experience, narrators telling and retelling stories, are important factors for the construction of meaning in the narratives studied here. Moreover, by discussing the meaningfulness of his work, whether in its formal aspect or in the aspect related to the geographic and literary context of its time and place, I expect to contribute with yet another look into the narrative strategies employed by Faulkner, a writer that, still today, fosters academic investigation and production, exactly for being able to construct telling circles that present genuine storytellers.

The aim of this thesis is to show that Emily Dickinson was not concerned with the publication of her poems and she herself decided to withdraw from the outside world, a decisive event which contributed to the original production of her almost eighteen hundred poems and over eleven hundred letters. Emily Dickinson withdrew into her untouched private world – which here is called “the bubble” – and developed the contemplation process based on the approach of apprehending perceptions which resulted in the instant captions that have enchanted readers. Since her withdrawal was as a result of her own free choice and own writing and living conventions, she was able to be the craftsperson that enjoyed living and writing. Her perception of nature by taking instant captions of the observable natural objects is perfected by the process of contemplation developed in some of her poems. The theoretical and methodological basis of the study comes from the analysis of the complete edition of poems edited by Thomas H. Johnson, the letters edited by Mabel Loomis Todd, and the concept of Nature by Hans Georg Schenk. For the analyses of different issues related to Dickinson’s verses, withdrawal, and apprehension of perceptions, the works of the biographer Richard Benson Sewall and critics such as Albert Gelpi, Barton Levi Armand, Karl Keller, Sharon Cameron, among others, were consulted. This study aims to demonstrate that Emily Dickinson was not concerned with publication and her withdrawal within her bubble was a positive event for her life and poetry. Such conclusion might contribute to enlighten the knowledge about the life and work of such an amazing personage of American Literature and American society as Emily Dickinson has been so far.