Ämnesområdet för denna uppsats är fascismen i Sverige efter andra världskriget. Uppsatsens huvudsakliga syfte är att undersöka Per Engdahls ideologi efter andra världskriget utifrån den fascitiska ideologins struktur. Uppsatens sekundära syfte är att undersöka om hans ideologi förändrades efter andra världskriget, om den gjorde det och vad det kan berott på. I uppsatsen har fyra olika politiska program från Nysvenska rörelsen undersökts, alla skrivna av Per Engdahl, mellan åren 1958 till 1979. I uppsatsen har en ideologianalys använts som metod för att dels undersöka det manifesta samt det latenta budskapet i Engdahls politiska program. Resultatet av denna uppsats visar på att Engdahl mellan åren 1958 till formulerade centrala delar av den fascistiska ideologins struktur i sina politiska program. Vidare visar denna uppsats även att Per Engdahl bl.a. förändrade sin ideologiska syn gällande nationen, individen och staten som det parlamentariska systemet efter andra världskriget.

Syftet med studien är att undersöka i vilken utsträckning gestaltningen av olika kön skiljer sig åt i svenska mediers rapportering kring kulturella skandaler, beroende på journalistens egna kön. Studiens fokus ligger i att undersöka Sara Danius och Horace Engdahl i krisen kring den Svenska Akademien, för att kunna jämföra svenska mediers rapportering av en kulturskandal, där både en kvinna och en man är inblandad. Det material som undersökts i studien är nyhetsartiklar från de sex största morgon- och kvällstidningarna i Sverige – Aftonbladet, Dagens Nyheter, Expressen, Göteborgs-Posten, Svenska Dagbladet och Sydsvenskan – vilka analyserats genom en kvantitativ innehållsanalys. Det teoretiska ramverk studien utgår från och som kan ge en förståelse för hur media gestaltar en skandal är; gestaltningsteori, medielogik, tonalitet och teorier om genus. Förutom dessa teorier har vi använt oss av relevant tidigare forskning inom skandaljournalistik och genus som indikerar att kvinnor och män gestaltas olika i media, inom politiska skandaler. Det blir därav intressant att undersöka om det även gäller en kulturell skandal samt om journalistens kön kan ha en betydelse för gestaltningen. Journalisters roll i rapporteringen och gestaltningen av skandalen är viktig, eftersom de har ett ansvar att vara objektiva samt att framställa de båda könen på ett likvärdigt sätt. Ur ett samhällsperspektiv blir studien intressant då mottagarna av en skandal påverkas av medias bild av hela händelseförloppet. Det resultat studien kommit fram till är att gestaltningen skiljer sig åt i hur kvinnliga och manliga journalister gestaltar de båda huvudpersonerna i skandalen kring den Svenska Akademien. Kvinnliga journalister fokuserar mer på huvudpersonens personliga egenskaper, utseende och yrkesroll, samt använder sig i större utsträckning av medielogikens berättarteknik personifiering. Kvinnliga journalister använder även i större utsträckning både mer positiv och negativ tonalitet i sina texter om Danius och Engdahl, medan manliga journalister överlag är mer neutrala i sin tonalitet. Resultatet visar även att det generellt läggs ett större fokus på både Danius yrkesroll och utseende än hos Engdahl, samt att journalisten syns mer i texten i de artiklar som främst handlar om Engdahl. Medielogikens berättarteknik personifiering syns även i större utsträckning när Engdahl gestaltas än Danius. När artikeln främst handlar om Danius är tonaliteten mot henne överlag mer positiv, medan när artikeln främst handlar om Engdahl är tonaliteten mot honom överlag mer negativ. Den som artikeln inte främst handlar om framställs med neutral tonalitet. I de fall bilder finns med i artikeln framkommer det att dessa i större utsträckning är gynnsamma för Danius, när artikeln främst handlar om henne. När artikeln främst handlar om Engdahl är eventuella bilder i större utsträckning mer neutrala eller missgynnsamma. Slutsatsen är att kvinnor och män gestaltas olika i skandalen kring den Svenska Akademien och att gestaltningen skiljer sig åt beroende på om journalisten är en kvinna eller man. Däremot är det svårtatt uttala sig om att alla kulturella skandaler skulle få samma utfall, då båda Sara Danius och Horace Engdahl är två särpräglade och unika individer med starka karaktärsdrag. / The purpose of the study is to examine to what extent the framing of different genders differs in Swedish media reporting on cultural scandals, depending on the journalists own gender. The study emphasizes on Sara Danius and Horace Engdahl in the crisis regarding the Swedish Academy, in order to be able to compare Swedish media reporting of a cultural scandal involving both a woman and a man. The empirical data that was examined in the study was news articles from six of the largest morning- and evening newspapers in Sweden – Aftonbladet, Dagens Nyheter, Expressen, Göteborgs-Posten, Svenska Dagbladet and Sydsvenskan – which has been analyzed through a quantitative content analysis. The theoretical framework is based on framing, media logic, tonality and theories of gender, which can give an understanding of how the media portrays a scandal. In addition to these mentioned theories, we have used relevant previous research in scandal journalism and gender which indicates that women and men are portrayed differently in the media, within political scandals. It was therefore interesting to investigate whether this also could be applied on a cultural scandal and if the gender of the journalist could have a bearing on the framing. The journalists role in reporting and depictions of a scandal are significant, they have a responsibility to be objective and to depict the two sexes in an equal manner. From a society perspective, the study becomes interesting as the recipients of a scandal are affected by the media's portrayal of the entire course of events. The study concluded that the framing differs in how female and male journalists portray the two main characters in the scandal regarding the Swedish Academy. Female journalists are more prone to emphasize personal characteristics, appearance and professional role, and make greater use of media logic's personification. Female journalists also used both more positively and negative tonality in their context regarding Danius and Engdahl, while male journalists generally are more neutral in their tonality. The results also show that there is generally a greater focus on Danius professional role and appearance than with Engdahl, and that the journalists are more visible in the context of the articles that are primarily about Engdahl. Media logic's personification is also seen to a greater extent when Engdahl is portrayed than Danius. When the article is mainly about Danius, the tonality towards her is generally more positive, while when the article is mainly about Engdahl, the tonality towards him is generally more negative. Whoever the article is not primarily about is portrayed with a neutral tonality. In cases where images are included in the article, it show that these are favorable to Danius, when the article is mainly about her. When the article is mainly about Engdahl, the images are either neutral or unfavorable. To summarizse, women and men are portrayed differently in the scandal regarding the Swedish Academy and that the framing differs depending on whether the journalist is a woman or a man. However, it is difficult to say that all cultural scandals would have the same outcome, as both Sara Danius and Horace Engdahl are two unique individuals with strong traits.

The atrocities committed by the Nazis during the second world war meant that the public view of Nazism and fascism in the late 1940s and early 1950s was at a record low. In many countries the government actively sought to combat organizations professing a loyalty to fascism and many groups all over Europe struggled to find new followers and support in the post-war era. In wake of this there were an interesting development within post-war fascist organisations. As a result of their inability to gain support in their nations they began cooperating more with other groups across the borders. One interesting expression of this trend was the formation of a fascist international in 1951. Formed as a result of two international conferences, one in Rome 1950 and one in Malmö 1951, the movement sought to create a federal European state of nationalist states with the purpose of establishing Europe as a third power in the cold war, ideologically independent from the liberal USA and communist Soviet bloc. At Malmö it was decided to form an umbrella organisation named Europäische Soziale Bewegung (ESB), the European social movement. Furthermore, it was decided that the organisation would have permanent secretariat in Malmö which would be organized and led by a commission composed of Per Engdahl, the former SS-officer Karl-Heinz Priester, the French revisionist Maurice Bardéche and the secretary of the MSI Augusto de Marsanich. This study focuses on the correspondence of Per Engdahl during the years of the congresses in order to examine how the personal networks of fascist leaders helped create, form and maintain the international cooperation of ESB. Using the social network perspective argued by Ylva Hasselberg, Leos Müller and Niklas Stenlås, the study found that Engdahl’s connections with key figures in the extreme right played a key part in planning and organizing the congress as well as formulating the ideological programme and the organisations operation. Furthermore, the study found that Engdahl’s network was frequently used to share information and news from the various movements. The study thereafter concludes that Engdahl’s network is good example of how the post-war fascist organisation intertwined and helped develop the international currents of fascism. In doing so, the study contributes to the research of entangled history in transnational fascism studies.

Uppsatsen är en analys av den svenska politiska aktivisten Per Engdahl och hans rörelsers ideologiska innehåll. Engdahl som föddes 1909 och avled 1994 var under hela sitt liv verksam i olika svenska fascistiska och högerextrema organisationer såsom Sveriges Fascistiska Kamporganisation, Riksförbundet det Nya Sverige, Sveriges Nationella Förbund, Riksföreningen Sverige-Tyskland, Svensk Opposition, Europäische Soziale Bewegung samt Nysvenska Rörelsen. Dessutom utgav han under nästan 50 år tidningen Vägen Framåt. Studien omfattar perioden 1931 till 1950. Fyra olika politiska program samt fyra ledarartiklar ur Vägen Framåt, från 1942 alla författade av Engdahl, har analyserats. Metoden har varit ideologianalys speciellt med hjälp av textanalys.Studiens syfte är att utifrån teorin om generisk fascism undersöka Per Engdahl och hans organisationers ideologiska grund. En sådan analys har inte tidigare genomförts utan Engdahl har betecknats som fascist eller nazist utifrån empiriska studier av organisationerna och inte på grundligare studier av hans idéer.Till idéhistorikern Lena Bergrens minimidefinition av generisk fascism har jag i min definition lagt till begreppet auktoritär och ersatt holistisk till metafysisk. Den lyder sålunda: Fascismen är en ultranationalistisk revolutionär och auktoritär ideologi med metafysiska och synkretistiska pretentioner som syftar till att skapa ett radikalt nytt samhälle och en ny typ av människa.Utifrån denna definition och andra centrala begrepp i fascismen betraktar jag Per Engdals ideologi som fascistisk under den undersökta perioden 1931 till 1950. Jag anser även att Engdahl var antisemit under perioden 1931 till 1942 och att han regelbundet spred rasideologiska idéer i sina texter fram till och med 1950. / This work is an ideological analyse of the Swedish political activist Per Engdahl and his different organizations. Engdahl was born 1909 and died 1994. He was active his whole life in different Swedish fascist an extreme right-wing organizations as Sweden’s Fascist Combat Organization, The National Federation the New Sweden, The National Swedish Association, The National Association Sweden-Germany, Swedish Opposition, The European Social Movement and The New Swedish Movement. He was also the publisher, for almost 50 years, of the political paper The Way Forwards. This study extends from 1931 to 1950. I have analysed four different political manifests and four editorials dated 1942 from his paper The Way Forwards. My method is primarily an ideology analysis including text analysis.The purpose of the study is to use the theory of generic fascism on Per Engdahls texts to find out the ideology can be defined as fascism. An analysis like this has not been done before but Engdahl has primarily been labelled as a Fascist or Nazi from empirical studies of his organizations and not by more thoroughly studies of his ideas.From the historian of ideas Lena Berggren I have borrowed her mini definition of generic fascism. But I have added the term authoritarian and substitute holistic with metaphysical. My definition reads: Fascism is an extreme nationalistic revolutionary and authoritarian ideology with metaphysical and syncretistic pretension which aims at a radical new society and an new type of individual.From this definition and other central concepts of Fascism I will define Per Engdahls ideology as fascism during the examined period from 1931 to 1950. I also see Engdahl as an anti-Semite during 1931 to 1942 and that he also constantly spread racism within texts and programmes until the end of the examination 1950.

This thesis is a study of the press reception of Ebba Witt-Brattström's Århundradets kärlekskrig (2016) and Horace Engdahl's Den sista grisen (2016). The study questions comprise the following; how the critics value the novels, what the critics' expectations are, and if non-literary assessment criteria have influenced the reviews and author personas. The study is performed by examining the critics' description, interpretation, and evaluation of the novels. Reception theory supplemented with literary criticism as well as author persona and medialisation are applied in the study. The conclusion is that Witt-Brattström's novel is highly valued for its contribution to confessional literature. The criticism of her novel is mostly based on the question of whether the novel should be read biographically or not. Engdahl's novel is valued as outspoken and provocative but also unconvincing and criticized for lacking credibility on certain subjects.The critics' horizons of expectation differ between the authors. The expectations of Den sista grisen lead to the fusion of the horizon because it corresponds to the expectations. The expectations of Århundradets kärlekskrig change the critics' horizon as the novel presents a new understanding of a contemporary topic. The non-literary assessment criteria have had an effect. Witt-Brattström addresses the issue of domestic violence and reinforces her persona. Engdahl is described as conservative and weakens his persona. In one area the authors are on the same level, medialisation. It involves an interplay between authors, literature, and media, which Witt-Brattström and Engdahl have mastered.

The purpose of this paper is to do an analysis of the characters and the theater/masquerade motif in C.J.L. Almqvist’s Drottningens juvelsmycke (The Queen’s Diadem), based on queer theory, by using Judith Butlers’s Gender Trouble. As an alternative to the Swedish, gender determined, feminine pronoun ”hon”, which has been used by earlier critics concerning the main character of the book, ”hen” is proposed. By using the pronoun ”hen” the mistake made by the earlier critics who, without reflection, state that the character is a woman, will hopefully be avoided. In this analysis, the fact that the main character Tinto – generally known as Tintomara – is an androgyne, is demonstrated. The analysis of Drottningens juvelsmycke also shows that the other characters of the book try to – by heteronormative patterns – define Tinto’s gender identity according to their own requests and purposes. The recurrent theater/masquerade motif, which is closely connected with the main character of the novel, reflects the drift of the gender identities between fiction and reality, between acting and real life. By not staying or getting caught in any specific heteronormative gender identity, Tinto reveals the binary gender categories ”man” and ”woman” as non-natural constructions, just as true or false as any other gender.

<p>The purpose of this paper is to do an analysis of the characters and the theater/masquerade motif in C.J.L. Almqvist’s Drottningens juvelsmycke (The Queen’s Diadem), based on queer theory, by using Judith Butlers’s Gender Trouble. As an alternative to the Swedish, gender determined, feminine pronoun ”hon”, which has been used by earlier critics concerning the main character of the book, ”hen” is proposed. By using the pronoun ”hen” the mistake made by the earlier critics who, without reflection, state that the character is a woman, will hopefully be avoided. In this analysis, the fact that the main character Tinto – generally known as Tintomara – is an androgyne, is demonstrated. The analysis of Drottningens juvelsmycke also shows that the other characters of the book try to – by heteronormative patterns – define Tinto’s gender identity according to their own requests and purposes. The recurrent theater/masquerade motif, which is closely connected with the main character of the novel, reflects the drift of the gender identities between fiction and reality, between acting and real life. By not staying or getting caught in any specific heteronormative gender identity, Tinto reveals the binary gender categories ”man” and ”woman” as non-natural constructions, just as true or false as any other gender.</p>