This thesis examines the forces that affect subjectivity in two novels by the author Philip K. Dick, Flow My Tears, The Policeman Said and The Three Stigmata of Palmer Eldritch. The close reading of these two novels makes use of postmodernist theory as its theoretical foundation. In these works, stable subjects are fractured through a series of disconcerting incidents originating in a “reality shift,” an event that sees the seemingly solid state of Dick’s speculative future worlds collapse. Split into three sections, this paper first positions Dick within a postmodernist tradition developed mainly by Lyotard, Hutcheon, and Baudrillard, supported by critics such as Sim, Malpas, and Kellner, among others. It then defines the reality shift and its underlying causes, three types of science fictional drugs across the two novels: Can-D, Chew-Z, and KR-3. Finally, this essay examines the full extent of Dick’s inquiry into subjectivity by exploring the metamorphoses the subjects of his novels endure.

Uppsatsen analyserar och komparerar H.C. Andersens verk Den lilla flickan med svavelstickorna och dess animerade adaption av Walt Disney Animation Studios The Little Matchgirl. Syftet med analysen är att undersöka hur tematik från Den lilla flickan med svavelstickorna förmedlas i en animerad adaption och utifrån vilka medel. Uppsatsen utgår från Linda Hutcheons adaptionsteori samt semiotik baserat på Gunter Kress och Theo Van Leeuwens visuella grammatik. Analysen visar på att adaptionens tematik överlag överensstämmer med originalets och de förändringar som gjorts har varit för sentimentala skäl eller på grund av de begränsningar eller möjligheter som det visuella mediet har som framställningsform. Analysen visar på att adaptionen använder både ljus- och färgmodalitetstecken för att effektivt kunna representera Andersens originella sentimentalitet i en ny medial framställning.

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The discursive and critical positions of the ‘classic’ nineteenth-century novel, particularly the woman’s novel, in the field of adaptation studies have been dominated by long-standing concerns about textual fidelity and the generic processes of the text-screen transfer. The sociocultural patterns of adaptation criticism have also been largely ensconced in representations of literary women on screen. Taking a decisive twist from tradition, this thesis traces the evolution of representations of masculinity in the malleable characters of Rochester and Heathcliff in film and television adaptations of Charlotte Brontë’s Jane Eyre and Emily Brontë’s Wuthering Heights between 1939 and 2009. Concepts of masculinity have been a neglected area of enquiry in studies of the ‘classic’ novel on screen. Adaptations of the Brontës’ novels, as well as the adapted novels of other ‘classic’ women authors such as Jane Austen, George Eliot and Elizabeth Gaskell, increasingly foreground male character in traditionally female-oriented narratives or narratives whose primary protagonist is female. This thesis brings together industrial histories, textual frames and sociocultural influences that form the wider contexts of the adaptations to demonstrate how male characterisation and different representations of masculinity are reformulated and foregrounded through three different adaptive histories of the narratives of Jane Eyre and Wuthering Heights. Through the contours of the film and television industries, the application of text and context analysis, and wider sociocultural considerations of each period an understanding of how Rochester and Heathcliff have been transmuted and centralised within the adaptive history of the Brontë novel.