Syftet med denna uppsats är att undersöka intertextuella samband gällande de ambivalenta föreställningar om korpen, som förknippad med, exempelvis döden och vishet, som återfinns i folklore och korpar i Nidstången, Draugen (Larsson & Korsell 2014; 2018) och Spådomen om Jack (Olczak 2018). Undersökningen utgår från folktro och myter om korpar från fornnordisk och keltisk mytologi samt från den nordamerikanska urbefolkningen. Analysen använder sig av komparativ metod och tar avstamp i det folkloreska. Begreppet avser den känsla av folklore som finns i många populärkulturella produkter och används som ett teoretiskt ramverk. Syftet är att undersöka de fuzzy allusions, diffusa allusioner, som ger läsaren en känsla av äkta folklore. Det handlar om författarnas kreativa användande av folkloristiska inslag från olika traditioner. De folkloreska uttrycken delas in i tre olika kategorier: integrering, porträttering och parodi. Den sistnämnda kan också betecknas som en metakommentar.  Studien visar att korpbröderna Alrik och Viggo i Nidstången och Draugen går i dialog med korpar från keltisk, fornnordisk och nordamerikansk mytologi, Alrik som mäktig magiker, likt Oden, och Viggo som tricksterfigur. De tretton korparna i Spådomen om Jack samtalar med föreställningar om korpen som ond och olyckbådande, som finns i folktro och fornnordisk och keltisk myt. Författarna till böckerna har skapat kreativa blandningar av myter och folktro runt korpen, vilket gör att de hamnar i den folkloreska kategorin integrering, med vissa inslag av parodi. Slutsatsen är att den ambivalens som förekommer i myter och folktro angående korpen också syns i de analyserade böckerna.

This thesis deals with the short story “Wanderer, kommst du nach Spa ...” (1950) by the German author Heinrich Böll (1917-1985). The well-established interpretation of this famous short story is that it deals with the dismal fact that the Nazis ended the development of Western culture, which cumulatively had been on its way since Greek antiquity. In this paper another reading is proposed, namely that the short story sheds light on the influence of the Romantic era in Germany and that a certain interpretation and use of Romanticism provided some of the seeds to the obscure ideas of the Nazi era. Research on Böll´s early writings is presented. The notion of cultural memory is introduced. The intertextual connections between Bölls text and other texts are being uncovered. Most fruitful proves the connection between “Wanderer” and the poem “Der Spaziergang” (1795) by Friedrich Schiller (1759-1805) to be. “Wanderer” can be read as a satirical version of Schillers poem. Reasons for Böll to choose Schiller’s elegy as a target are discussed at length. A parable in the story, ”wie ein Gesicht eines Schlafenden” / like a face of a sleeping person, unfolds an undertext to the short story, a Catholic text. Jesus, the Holy Communion, prayers and the eternal cross are present. Wanderer can be read as a requiem over the young soldier. Further, the inability of the wounded soldier to connect to his surroundings is interpreted as a parallell to Germany at the end of the war; the Nazis had stolen the Heimat from the people and it was no longer possible to interpret the world as something you belonged to. While Heinrich Böll on the surface of the text tries to recapture the German language from its nazi-poisend condition, the protagonist within the text regains his identity by means of his own handwriting - a part of his language.

Det övergripande syftet i denna uppsats är att undersöka vad som tyder på att C.S. Lewis har influerats av den bibliska Djävulen i hans skildrande av två ondskefulla gestalter i Narnia. Dessa två karaktärer är den vita häxan och den vita häxan. I studien har jag valt att göra en komparativ undersökning av vilka kopplingar och likheter som finns mellan den bibliska djävulen och Lewis framställningar av den gröna respektive den vita häxan. Jämförandet bygger på en intertextuell, religiös grund med en hermeneutisk utgångspunkt där Bibeln och Holms djävulssymboler har fungerat som jämförelseunderlag. Fokus i denna granskning har legat på vilka samband skildringarna av Djävulen och häxorna förmedlar i form av symboler, handlingar och händelser. Sammanfattningsvis går att säga att parallellerna och likheterna är många och konkreta men att dessa influenser tar sig uttryck på olika sätt hos den gröna häxan respektive den vita häxan. Det framgår att den gröna häxan har fler kopplingar till djävulen genom symboler medan den vita häxan skildras mer sparsamt med symboliska uttryck. Den vita häxan tilldelas dock fler paralleller och samband med djävulen i form av handlingar och händelser. Samtidigt blir det tydligt att Lewis förmedlar kristna strukturer till kommande generationer genom sina karaktärer och berättelser om landet Narnia. Det bibliska jämförandet visar i detta fall på hur människor i en social konstruktion även införlivar nya medlemmar i kulturella inlärningssystem genom litteratur.

Adapting the concept of the ”popular cultural memory” and its necessary “context knowledge” established by Karin Kukkonen, this bachelor thesis seeks to examine how this memory is “at work” and expresses itself in contemporary fiction, by doing an intertextual reading of the swedish author Amanda Svensson's debut Hey Dolly. Within the intertextual structures of Hey Dolly the reader encounters allusions and references that address almost everything from contemporary popular culture to established authors in the swedish canon, mainly as means for the characters to help them express their emotions and thoughts, by “choosing” from already available content of popular culture to use and modify. The intertextuality alluding to the popular cultural memory does at the same time address the concept of the ideal reader throughout the novel. This ideal reader is addressed by the narrator as one of those “in the know”, as competent enough to see this “popular cultural memory” at work in the novel by “getting” these intertextual allusions and references. Thus any (real) reader has to be equipped with the same expertise of popular culture as the narrator in order to fully understand this intertextuality. The intertextual practices of Hey Dolly should be understood as traits used by the author to express and implicate her/his awareness of the texts “surroundings”, traits indeed found even in the name of Hey Dolly's main protagonist, symptomatically influenced from contemporary, western American commercial culture. Given the premiss where this intertextual framework relies on a heavily contemporary influenced popular cultural context, it potentially would run the risk of not being understood, should future popular culture contexts operate under different premisses. In this regard the high cultural canon memory would have to be regarded as being more stable and “reliable” than the popular cultural memory, as the norms for the canon are more fixed and rarely negotiated.  Arguing that this intertextual reading of Hey Dolly is of an immense value and significant for understanding how the Zeitgeist operates and should be approached, this thesis is still based on the premiss where the intertextual reading of Hey Dolly has largely been nonexistent when looking at how Hey Dolly has been received. Instead in the swedish media we find a consistent dominance of how its reception has been read from almost exclusively a gendered point of view, where Hey Dolly is seen and regarded as the forthcoming of a new representation of the girl/woman ideal. The intertextual reading of Hey Dolly would instead be regarded as “secondary” at best, where the story by itself is self sufficient, even if the reader lacks the necessary context knowledge of how this ”popular cultural memory” is at work in the text.

The aim of this study is to draw new perspectives to the theoretic approach towards the complex nature of the modern fairy tale genre and its transformation. The study is exemplified by two books by Alan A. Milne about Winnie-the-Pooh (1926-1928), Tove Jansson’s eight books about the Moomintrolls (1945-1970) and Eno Raud’s four books about three funny creatures called “Nakstitrallid” in Estonian (1972-1982). In this thesis, I examine the disputable problem of defining the fairy tale genre in modern literature and refer to the history of the genre and storytelling tradition that have indirectly inspired all three authors in their decision to turn for fairy tale as a genre. Applying the poetical analysis, I argue that these authors contributed to the continuity of fairy tales by creating the link between folkloric heritage, novelistic literary expression and children’s imagination. This study can therefore be considered as topological, however it does not pretend to introduce the complete systematic definition of the genre as the thesis’ format does not allow such in-depth investigation. In the first chapter, ‘Archaic world stimulation in modern fairy tale’, I examine the dominating literary categories that refer to the folk fairy tale intertext: Bakhtin’s concept of ‘chronotope’ – category of time and space, system of fictional allegoric characters and category of fantastic.  In the second chapter, ‘Modern fairy tales from perspective of children’s literature’, I analyze the books of Milne, Jansson and Raud in the scope of narratological and aesthetic categories of children’s literature. The folkloric laughter intertextually reproduced by naïvism of the Moomins, the Naksitralls, and Winnie-the-Pooh’s friends, while folkloric collective hero is presented by universal harmony of a happy family and child-like protagonists. I came to the conclusion that poetics of folklore fairy tale still exists in these books through the intertextual dialogue. Modernism as literary method re-evaluates folkloric aspects such as nonlinear time, the blurred boarders between individual and cosmos, material and spirit, text and reality. Every new artistically unique fairy tale world resembles the new stage of the genre development. The more innovative is the story, the more sophisticated can be its poetics.

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Uppsatsen syftar till att studera intertextualiteten i Bjarne Moelvs Helgas offer – dagboksroman om ett brott och Hjalmar Söderbergs Doktor Glas. Tyngden i analysen ligger på Moelvs roman, under det att Doktor Glas tjänar som belysande jämförelsematerial. Analysen består av tre delar där den textuella strukturen, perspektivet och berättarstrukturen undersöks. Resultaten visar att romanerna uppvisar flera stilistiska likheter men även tydliga skillnader när det gäller jagberättarens framställning. Moelv distanserar sig från det kvinnliga berättarjaget genom att begränsa henne till en iakttagare. Detta ger uttryck för en framställning som konstrueras ur ett genussystem där manliga normer slår igenom i representationer av kvinnor.

För nutida läsare av Nya Testamentet kan referenser till ”Kristi blod” upplevas som märkliga och rentav obehagliga – de flesta människor idag associerar ju blod till något negativt. I denna uppsats studeras två passager i Första Petrusbrevet som innehåller just motivet ”Kristi blod” – detta utanför en nattvardskontext. Utifrån den svenska översättningen och sekler av teologiska läror är det lätt att tänka att motivet anspelar på en försoningstanke kring rening och frigörande från synd. Men stämmer det verkligen? Uppsatsförfattaren utforskar både innebörden av ”Kristi blod” i dessa passager samt vilken funktion de har i Första Petrusbrevet som helhet. Analysen görs genom en historisk-kritisk metod inriktad på ordstudium utifrån den grekiska grundtexten, intertextualitet och metaforik. Bland annat kan författaren visa att ”Kristi blod” utgör en del av en argumentation som handlar om att adressaterna ska härda ut i den sociala utsatthet de upplever som kristna. Genom att följa Kristus i hans lidande kommer de även få del i hans förhärligande och uppståndelse. Förutom de kända referenserna i Första Petrusbrevet till bl.a. Jes 53 och Ps 34 kan författaren här även visa på en intertextualitet med Ps 89. Denna ger ytterligare en dimension av temat ”Herrens lidande tjänare” som finns i brevet samt förstärker argumentationen om en Kristus-identifikation för adressaterna. / For modern New Testament readers, references to “the blood of Christ” can be perceived as strange and even unpleasant, since most people today associate blood with something negative. In this bachelor’s thesis, two passages in the 1 Peter are studied, which contain the motif of "the blood of Christ" - this outside a communion context. Based on the Swedish Bible translation and centuries of theological teachings, it is easy to think that the motif alludes to atonement theory and an idea of ​​purification and liberation from sin. But is this really the matter? The author here explores both the meaning of "the blood of Christ" in these passages and what function they have in 1 Peter as a whole. The analysis is made through a historical-critical method focused on word study based on the Greek text, intertextuality and the many metaphors in the letter.  Among other things, the author can show that "the blood of Christ" is part of an argumentation that is about helping the addressees to endure the social vulnerability they experience as Christians in the Greek-Roman society. By following Christ in his suffering, they will also be able to take part in his glorification and resurrection. In addition to the well-known references in 1 Peter to e.g. Isaiah 53 and Psalm 34, the author can also point to an intertextuality with Psalm 89. This deepens the theme of "The Lord's suffering servant" in the letter and strengthens the idea of identification in Christ for the addressees.

This essay is based on trying to understand the relationship that exists between Josephus’ writings and the pseudepigraph Assumptio Mosis. Although the comparisons made between the texts in this essay are not enough to give a definite answer, none of the examples exclude that Josephus may have used Assumptio Mosis as a primary source. Rather, there are indications in which a direct relationship between Josephus and Assumptio Mosis potentially could explain from where Josephus acquires some of his source material, especially for his narrative of the time period around 4 BCE–6 CE. / Denna uppsats bygger på att försöka förstå relationen som finns mellan Josefus skrifter och pseudepigrafen Assumptio Mosis. Även om jämförelserna som görs mellan skrifterna i denna uppsats inte räcker för att ge ett säkert svar i slutändan, utesluter inga av exemplen att Josefus kan ha använt Assumptio Mosis som direkt källa. Snarare finns indikationer i vilka en direkt relation mellan Josefus och Assumptio Mosis skulle kunna förklara varifrån Josefus hämtar en del av sitt källmaterial, inte minst för hans narrativ om tiden runt 4 f.v.t–6 v.t.

The Bachelor dissertation What do you mean national self-image? is a discourse analysis of the relationship between Swedish news providers. The study aims to investigate how Swedish-language print media interact with the main provider of Swedish news in English, The Local Sweden, and what it reports as the “essence” of the nation and its people.   The investigation has been conducted through the implementation of Ernesto Laclau’s and Chantal Mouffe’s discourse analysis and uses intertextuality, stereotypes, social representation, as well as nationalism and the imagined communities as its theoretical framework. The material selected for the analysis comprises publications by Swedish-language print media from the year of 2014, which engage in a dialogue with The Local Sweden beyond the generic interaction of news. The dissertation concludes that Swedish-language print media approach The Local Sweden’s news coverage in two ways: in agreement or in opposition of what has been reported. When The Local Sweden has published something with the intention of capturing the “essence” of Sweden and its people, they bring attention to the Swede’s hugging culture, their food and souvenirs, as well as their knowledge of language. The results of the study suggest that The Local Sweden manages to provide new information on the subjects, which then leads to Swedish-language print media responding with entire articles dedicated to these topics. The articles convey a sense of fascination and curiosity toward the findings and confirm that The Local Sweden has been correct in their observations. However, when The Local Sweden publishes something with the intention of presenting Swedish news rather than the specific “essence” of it, they find different angles in news stories than what has been covered by Swedish-language print media. The results of the study suggest that by doing so they set themselves apart and provoke Swedish-language print media into responding by incorporating a comment for and/or relating to them as a news provider. The comments convey that Swedish-language print media question The Local Sweden’s validity as a valuable member in covering Swedish news.