Depuis une trentaine d’années, des Églises pentecôtistes portées par des communautés en migration ou issues de celles-ci ont fait leur apparition dans la capitale européenne. Leur implantation et leur succès grandissants vont de pair avec l’intensification des flux migratoires de ces trois dernières décennies en provenance d’Afrique sub-saharienne et d’Amérique Latine. Cette thèse entend explorer l’enchevêtrement entre l’expérience religieuse et le parcours migratoire des acteurs pentecôtistes euro-africains et euro-latinoaméricains à Bruxelles. Dans ces espaces, les convertis travaillent collectivement à réaliser la transformation encouragée par le scénario religieux qui consiste à appliquer le « plan parfait de Dieu » dans leur vie. Porteurs d’ambitions missionnaires, les fidèles donnent des contenus inédits à leur posture identitaire en redéfinissant la place qui leur est assignée dans le contexte de la Belgique postcoloniale. L’affiliation religieuse joue comme un marqueur de distinction, processus qui est particulièrement saillant dans le domaine de la sexualité et des rapports de genre entretenus à l’intérieur même des assemblées./During the past thirty years, Pentecostal churches, mostly composed by followers from Subsaharan Africa and Latin America, blossomed in Brussels. Their presence and growing success go hand in hand with the intensification of the migratory flows, the last three decades, from these two continents. This thesis investigates the relationship between the religious experience and the migratory route of the euro-African and euro-Latin-American Pentecostal actors in Brussels. In these meeting spaces, the converts work collectively to realise the transformation process encouraged by the religious scenario which consists in applying the perfect " plan of God " to their life. Carriers of missionary ambitions, the believers give new contents to their identity by redefining the place which is assigned to them in the context of post-colonial Belgium. The religious membership operates as a marker of distinction, a process which is particularly striking in the field of sexuality and gender relation maintained within the assemblies.

<br> <p style="text-indent:2em"> Consacrée aux <i> Physiologies</i>, un ensemble denviron cent trente textes illustrés de petit format dont la parution est concentrée sur quelques années de lhistoire culturelle française, la thèse semploie à penser leur inscription dans une épistémologie de la recherche en littérature, selon une méthode conciliant la démarche poéticienne avec létude des modes de production et de sophistication du <i> medium</i> en tant que dispositif esthétique et technique. En six chapitres et à laide de plusieurs approches la sociologie des champs, lanalyse du discours, létude du discours social et lépistémocritique , il sagit de resituer ce genre dans <i> lespace des possibles</i> (P. Bourdieu) formels de la Monarchie de Juillet. <br> <p style="text-indent:2em"> Après un chapitre de contextualisation déterminant la place du paradigme physiologique par rapport à la discipline médicale expansive et au règne médiatique de la "connaissance utile", un second chapitre interroge les orientations intellectuelles qui ont infléchi létude de lobjet textuel en lien avec la <i> littérature panoramique</i> (W. Benjamin), ainsi que les raisons qui font du corpus un ensemble de productions "mineures". Létude des modes de diffusion culturelle montre la réappropriation par la Physiologie de son opérativité sémiotique (plans symbolique et social) et logistique (plan technique), en particulier dans les représentations textuelles affichant un lectorat associé au type traité, une figure déditeur en entrepreneur impérieux et un illustrateur en co-énonciateur. Létude des principaux invariants du genre sattache ensuite à plusieurs caractéristiques récurrentes telles que le développement dune fiction dactualité, la structure taxinomique, le projet éditorial sériel, la composante réflexive et lusage contre-idéologique du stéréotype. <br> <p style="text-indent:2em"> Le chapitre consacré aux auteurs revient sur leurs trois profils principaux, situables entre la participation aux équipes rédactionnelles du <i> Charivari</i> et de <i> La Caricature</i>, la pratique mêlée du feuilleton, du vaudeville, du roman populaire et la fondation répétée de petites feuilles politiques et littéraires. Linvestissement non-exclusif de ces pratiques explique la position damateur souvent revendiquée dans les scénographies auctoriales. Un positionnement de groupe se manifeste moins par leffet dun phénomène générationnel que par le procédé du panthéon parodique, consolidé par une intertextualité spécifique qui permet aux auteurs de sentre-désigner en tant que "spirituels collaborateurs". <br> <p style="text-indent:2em"> Lavant-dernier chapitre développe une lecture discursive du laboratoire des identités dauteurs. La cohésion éditoriale favorise les stratégies de distinction chez des auteurs désireux de particulariser leur contribution à une production surcodée et de recréer, entre petits, les valeurs de loriginalité portées au même moment par la littérature reconnue. Lidentité discursive du physiologiste repose sur des scénographies déceptives qui vont au-delà dun effet dysphorique de lecture et concernent léconomie du dispositif dénonciation. Le sixième chapitre examine le projet de textualisation du social qui rapproche la Physiologie de lémergence de certaines formes de proto-sociologie. Les représentations de la vie littéraire sont loccasion dobserver la fabrique de la consécration dans le champ littéraire français des années 1840-1842 et montrent que le traitement de la référence littéraire se double dune valorisation par la négative permise par la comparaison qui disqualifie, la référence secondaire qui déclasse, la caricature écrite et le pastiche satirique. <br> <p style="text-indent:2em"> La thèse a eu pour objectif de penser cet objet atypique comme sujet de recherche littéraire et de recherche en littérature. Non seulement le genre parle (de) la littérature et représente le monde littéraire, mais il constitue lui-même un dispositif formel qui a eu des effets dans le champ et il développe des scénarios, des identités et des figures énonciatives qui constituent la richesse dune littérature en train de se faire et de se dire.

ProblemDå genusframställningen i medierna tenderar att bidra till att skapa stereotyper och en möjligt felaktig bild av kvinnor finns ett behov av att studera på vilket sätt en medietext har möjlighet att skapa kvinnliga konstruktioner – positiva och negativa. Genom att studera Förkvälls språk ville vi komma fram vad innehållet förmedlade, vad som sägs varför. SyfteUppsatsens syfte är att studera om och hur konstruktioner av kvinnan och kvinnlighet förmedlas genom språket i programmet Förkväll. BakgrundFörkväll sänds på TV4 måndag till fredag på kvällstid. Programmet leds av fyra kvinnliga programledare och sänds från andra våningen på T-centralen i Stockholm. Programmet har av oss blivit kategoriserat som en mix av pratshow och magasinprogram utifrån programmets uppbyggnad och sitt varierade innehåll. Förkväll byggs upp av fem olika teman för respektive veckodag. Exempel på teman är skönhet och mode, relation- och själsfrågor och fest. TeoriVi har utifrån bland annat diskursbegreppet försökt redogöra för hur föreställningen om kvinnlighet skapas och hur konstruktionen av kön framkallas i maktförhållanden. För att kunna besvara våra frågeställningar har den mediala kvinnoframställningen studerats, samt vad som kategoriseras som kvinnligt genom språk och stil. MetodMed hjälp av en kvalitativ textanalys har vi studerat och analyserat Förkväll. Textanalysen har tillämpats på tre transkriberade texter, vari vi sett till det explicita men främst sökt de implicita meningarna. Analysen fokuserar på dessa tre texter. NyckelbegreppKvinnlig konstruktion, språk, genre och stil, diskurser, makt, stereotyper och förväntningar.

This manuscript tells the stories of the Latin/o and general music industries in the United States from 1898 to 2000. It argues that performers transformed the local identities of aural industries based in place and melody into global industries of visual identities designed for space and celebrity. Both the Latin/o and general music industries shifted back and forth along a local-sound-to-global-sight spectrum more than once, from sounds of music rooted in specific places to sights of musicians uprooted across universal spaces between 1898 and 2000. This claim is supported by a textual analysis of archival materials, such as trade press articles, audio recordings, still photographs and motion pictures. While the general music industry's identity changed, the Latin/o industry's identity stayed the same, and vice-versa. Specifically, when the general industry identified with transnational performers and images between 1926 and 1963, the Latin/o industry retained its identification with the sounds of music rooted in specific places. From 1964 to 1979, as the Latin/o industry moved from one end of the spectrum to the other, only to return to its initial position, it was the general industry that maintained its identification with the midpoint of the spectrum. During the 1980s, the general industry zigzagged from the midpoint to the global-visual end and back again, while the Latin/o industry remained at the local-sonic end of the spectrum. In the 1990s, the Latin/o industry's local and sonic identity continued, and the general industry moved from the midpoint to the global-visual end of the spectrum with the Latin boom. The general industry's identity changed during each interval except 1964-1979, the only period in which the Latin/o industry's identity fluctuated. From Aural Places to Visual Spaces: the Latin/o and General Music Industries should be of interest to anyone invested in the relations between creativity and commerce, substance and style, or geography and genre.

Den befriade sången. Stina Aronsons berättarkonst Liberated song. Stina Aronson’s narrative art Abstract This thesis discusses the narrative art of the Swedish author Stina Aronson (1892-1956) with special emphasis on Hitom himlen (“This Side of Heaven”) from 1946. This work forms the subject of the first part, with formal aspects like narrator construction, composition and genre as the starting-point. These aspects, and the originality with which they are treated by Aronson, are put in relation to modernist æstheticism. In the next step the modernist approach is linked to a discussion of modernity. The basis of this thematic analysis consists of entities like language, time, faith and individuality, all of which play an important part in Aronson’s writing. The thematization of individual freedom versus determinism makes the work a counterpart to existentialism, the current philosophy of the time. What becomes especially apparent is a striking ambivalence towards modernity, but also towards a more traditional, almost pre-modern, attitude to life prevailing in the severe Læstadianist village community described. This interpretation deviates from the idea of pure civilization criticism and of the near idealization of the world described, which has dominated earlier analyses of the Aronson’s work. Gender issues, too, play an important part in the thesis, especially in the section analyzing the main characters and the attitudes they represent. The two central characters of the text are women and they are fundamentally different. The criticism of the village community and the destructive effects on the individual of the austere faith is most evident in the portrait of Mira, one of the women. She emerges as a more modern character than the others, driven by an urge to break free and make her own destiny, a project which, however, fails completely. There are several reasons for this, but the decisive factor is that as a woman she is more strictly bound by conventions and norms in the surrounding environment and interpretative community. Part II discusses the author’s other works published in book form. The textual forms and their possible relation to modernism are discussed to some extent, but above all the same issues concerning modernity and gender are tested as outlined in the first part. Ambivalence vis-à-vis the modern is also noticeable in the early works, albeit in a less sophisticated way. The problematization of gender roles is a marginal but essential element in these works, most evident in those produced around 1930 and gradually becoming more and more complex. What is striking is the recurrent existence of gender-transcending characters. Aronson’s characters are depicted over and over again as untypical of their sex, which altogether conveys the image of a world where there is something fundamentally wrong with expectations. In the collected works of Aronson these themes remained constant throughout the great variation in genre, form and contents ever since the début in 1921 to her last work in 1952: opposition against all forms of normalizing categories prescribing how people should believe, communicate, experience time and function as man or woman.

The author discusses three Soviet comedies from the 1970s: Moskva slezam ne verit (Moscow Does Not Believe in Tears, Vladimir Menshov, 1979), Osenniy marafon (Autumn Marathon, Georgi Daneliya, 1979), and Ironiya Sudby, ili S lyogkim parom (Irony of Fate, Eldar Ryazanov, 1975), and how they relate to both conventions of romance and conventions of the mainstream traditions of the romantic comedy genre. The text explores the evolution of the genre and accompanying theoretic writings, and relates them to the Soviet films, focusing largely on the conventions that can be grouped under an idea of the romantic chronotope. The discussion includes the conventions of chance and fate, of the wrong partner, the happy ending, the temporary and carnevalesque nature of romance, multiple levels of discourse, and some aspects of gender, class and power. In addition, some attention is paid to the ways in which the films connect to specific genre cycles, such as screwball comedy and comedy of remarriage, and to the implications that a communist system may have on the possibilities of love and romance. The author argues that Soviet and Hollywood films share many conventions of romance, but for differing reasons.

No description available.

Det är svårt att sätta ord på vad man menar när man pratar om musik. Jag är intresserad av varför det sällan går att finna definitioner av genrer när diskussionen om dem är så stark, speciellt när det gäller snarlika genrer som troligtvis är uppdelade av en eller flera anledningar. Syftet med min undersökning är att utveckla vidare kunskap om vilken betydelse det har att skilja på två snarlika subgenrer inom samma metagenre. Jag undersöker därför hur två snarlika genrer definieras och jämför dem sedan och prövar om det är av betydelse att undersöka flera aspekter av en musikgenre. Tidigare forskning föreslår att den musikaliska stilen borde undersökas likväl som kulturen och andra aspekter. En stark diskussion pågår just inom heavy metalscenen om subgenrerna inom den, därför undersöker jag subgenrerna death- och black metal. I denna undersökning använder jag Fabbris mall för genredefinition, där undersöks formella och tekniska regler, semiotiska regler, regler för beteende, sociala och ideologiska regler samt ekonomiska och juridiska regler. Reglerna har jag undersökt genom att lyssna på fonogram, titta på videoinspelningar av liveframträdande och publik samt hur aktörer inom scenerna beter sig när de inte är på scen. Jag har även analyserat låttexter och använt mig av diverse litteratur och dokumentärfilmer. Mitt resultat visar att det finns betydande anledningar till att skilja på death metal och black metal trots att de musikaliskt liknar varandra.

Uppsatsens syfte är att undersöka om manliga och kvinnliga filmrecensenter skriver om film på olika vis. Vi har undersökt totalt 120 filmrecensioner mellan 2 mars och 4 november 2011 i Svenska Dagbladet, Nöjesguiden och Cinema. Undersökningen genomfördes med hjälp av både kvantitativ och kvalitativ metod. Den kvantitativa metoden i vår undersökning visar att männen i vårt material skriver längre texter än kvinnorna. Kvinnorna recenserar oftare genrerna familj och romantik, medan männen har ett övertag inom action och komedi. Männen använder sig av fler referenser än kvinnorna. Den kvalitativa metoden i vår undersökning visar att männen i vårt material sällan förklarar sina referenser medan kvinnorna är mer beskrivande och förklarar referenserna i sina filmrecensioner. Kvinnorna vill ha ett samförstånd med läsaren, skapa ett förhållande, genom igenkänning och genom att tala till läsarens känslor.

This study of the contribution of working-class fiction to the debate on class conflict in Britain is based on four novels written by two ex-miners between 1929 and 1939: The Gate of a Strange Field (1929) and Last Cage Down (1935), by Harold Heslop, and Cwmardy (1937) and We Live (1939), by Lewis Jones. These novels represent, in work­ing-class fiction, a unique combination of an archetypal working-class occupation, min­ing, with central features of the 1930s cultural discourse, the role of political ideology in literature. This study takes as its starting point the perception of these novels as having a spe­cifically communicative function in the social and cultural context of the 1930s. It recognises their role in articulating the radical voice of the miner in the conflict of inter­ests between capital and labour as exemplified by the coal industry. I also argue that the novels are influenced by the polarised discourse of British social and cultural life in this period. Cultural context is not seen simply as a reflection of 1930s attitudes and ideas, but also in relation to a tradition of working-class and miners' fiction that appropriates accepted literary forms for specific needs, in this case, the articulation of miners' griev­ances in the 1930s, seen in terms of class conflict. This conjuncture of historical and contemporary cultural discourses acts as the organising principle of the first part of this study. The four novels are analysed in terms of a sub-genre classification of the realist novel: the roman à thèse. This approach facilitates an analysis focusing on the deter­mining influence of ideology as a totalising concept affecting the structure, content and message of these novels. I argue that the prime purpose of these novels is to constrain interpretation to a desired outcome, as represented by the doctrine inherent in the text. Two types of roman à thèse are distinguished: the apprenticeship, which builds on the precepts of the Bildungsroman, and the confrontational, which is non-transformational, depicting scenes of class conflict. The apprenticeship model consists of two types of exemplary narrative: positive and negative. This study demonstrates that, by applying the analytical model of a positive apprenticeship to Cwmardy, the narrative structures of the novel limit the potential for interpretation to the doctrinal assumptions underlying the text. The reader is expected to identify with the class-conscious insights gained by the hero. The Gate of a Strange Field, in contrast, acts as a cautionary tale, illustrating the consequences of embracing a false doctrine. Both We Live and Last Cage Down are considered as novels of confrontation in which the primary conflict between capital and labour is modified by a secondary conflict within labour on the question of ways and means of achieving a socialist society. The conclusion reached is that these novels can only be understood in relation to the polarised social and cultural attitudes of the 1930s, and in relation to their place in a history of miners' literature that appropriates literary forms to engage in a debate on the class nature of British society. / digitalisering@umu