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Il s’agit de repenser les rapports entre littérature et aveu religieux dans le cadre d’une archéologie de l’autofiction contemporaine. En prenant en compte la construction mythique et fantasmatique du « Roman du XIXe siècle » comme paradigme du livre public, cette thèse envisage la scène romanesque de confession comme le lieu d’un métadiscours : ce dernier a pour objet le bouleversement des rapports entre espace public et sphère intime après le tournant de l’expressivisme romantique. Ce bouleversement nous paraît avoir été illustré diversement par six autrices et auteurs issus des espaces anglais, français et russe : Ann Radcliffe, Charlotte Brontë, George Sand, Fédor Dostoïevski, Maxime Gorki et Georges Bernanos. L’étude comparatiste de ces six œuvres déplace la question générique des confessions littéraires en resituant leurs scénographies dans la tradition religieuse et romanesque des mystères. La théâtralité de ces scènes de confession atteste, par ailleurs, une pénétration du mode de représentation dramatique sur le mode narratif. Ce dernier phénomène peut être abordé dans une perspective microsociologique, attentive aux inflexions historiques de la dramaturgie sociale comme aux ruptures de la présentation de soi. La scénographie des aveux imaginaires s’intègre enfin dans une histoire de l’aventure interprétative moderne et notamment dans celle de la critique littéraire, marquées, au XIXe siècle, par un processus de laïcisation de l’âme et par le triomphe d’une nouvelle culture de l’enquête. Si l’intériorité du sujet devient progressivement dans le roman l’objet d’un spectacle, elle parvient aussi, à travers les méandres de l’écriture, à se dérober aux nouvelles exigences de la visibilité. / This thesis reconsiders the relationship between literature and religious confession within the framework of an archaeology of contemporary autofiction. Taking into account the mythical and fantasmatic construction of the "Nineteenth Century Novel" as the paradigmatic public book, this research interprets the confession scene in novels as a locus of a metadiscourse, which is closely linked to the upheaval of relations between public space and intimate sphere after the expressivist turn in Romanticism. We consider this upheaval to have been variously illustrated by six authors from England, France, and Russia: Ann Radcliffe, Charlotte Brontë, George Sand, Fedor Dostoevsky, Maxim Gorky and Georges Bernanos. Studying these six works from a comparative standpoint allows us to shift the generic question of literary confessions through placing this scenography in the religious and romantic tradition of mysteries. Moreover, these confession scenes’ theatricality attests to a penetration of the dramatic mode into the narrative mode of representation. It can be approached from a microsociological perspective, by paying close attention to the historical inflections of social dramaturgy as well as to the disruptions of self-presentation. Lastly, the scenography of the imaginary confessions belongs to the history of modern interpretative adventure more particularly of literary criticism, both influenced in the nineteenth century by a process of secularization of the soul as well as the triumph of a new inquiry culture. If the subject’s interiority gradually becomes a spectacle in the novel, it also manages, through the meanders of writing, to evade the new demands of visibility.

Denna uppsats har gjorts i syfte att undersöka relationerna som finns mellan den filmtekniska aspekten av tempo och porträttering av manlig intimitet. Musikvideon till låten Territory av The Blaze analyseras genom en filmsemiotisk analys ur ett genusperspektiv. Metoden utformas efter hur aktivitet är representerat genom icke-verbal kommunikation för att läsa av vart intimitet uppstår och uteblir. Kommunikations- och genusteorier appliceras sedan på materialet för att se hur det påverkas av valet att skildra representationen med slow-motion eller normalt tempo. Användningen av slow-motion bidrar till att sakta ner i narrativet där den manliga intimiteten kan liknas till det sätt som kvinnor vanligtvis porträtteras genom Mulveys teorier gällande den manliga blicken. / The purpose of this essay is to analyze the relations between the use of pace and representation of masculine intimacy. The music video to the song Territory by The Blaze is observed through a gender perspective in a film semiotic analysis. The method involves how intimacy is represented through non-verbal communication. The material will be analyzed through theories involving communication and gender identity to see how it is affected by pace. This leads to the result of a conclusion that slowing down the narrative contributes to a representation of male intimacy to have resemblance to how women are portrayed according to Mulvey’s theories about the Male gaze.

At some point in our lives, we have all experienced physical and emotional pain. We all also try to find meaning in such suffering, first within ourselves, but also through sharing these experiences with those who are close to us. In literature, authors who write autobiographies blur the boundaries between the public and private spheres when they invite readers into their personal world. Georges May and Philippe Lejeune, leading critics of the genre, have concluded that autobiographers not only try to make sense of their own lives, but through their writing, they also seek forgiveness and human compassion. My doctoral thesis explores how an important contemporary literary genre, the French autobiographical comic book (also known as the graphic novel), approaches the topic of health and disease and links it closely with questions of identity formation. Within the theoretical framework proposed by Laurent Berlant, who founded a now thriving branch of contemporary cultural studies known as “Intimacy Studies,” the central aim of my thesis is to demonstrate how these French graphic novels have become an important literary and cultural site for examining the social and artistic significance of a form of writing in which private health concerns are made public. In speaking of intimacy, emotions such as love and other kinds of interpersonal bonds typically come to mind. However, my study of a corpus of ten French-language autobiographical comic books indicates that health concerns and representations of a variety of physical, emotional and mental afflictions are topics of focus in this genre. Authors share their life stories and discuss their relationships with others, but they also share very personal details about their physical and mental states. This sort of intimacy is, I argue, a product of the medium itself. Comics are a hybrid genre in which written texts and images coexist. Comic artists who take their own lives as the subject of their art draw pictures of themselves over and over again. In the autobiographical comics I study, when illness and other afflictions strike the body, this suffering is rendered graphically on the page. These artists are also preoccupied by their inner lives. Both their writing and visual art allow them to portray the inner turmoil they endure in their private life. Comic book scholars, whose studies have proliferated over the past several decades, have largely overlooked how important the portrayal of health is in the development of the genre. This is somewhat surprising given the extent to which the underground graphic novelists who emerged in the United States in the 1960s found ways to defy the Comic Code Authority by challenging cultural norms. These artists openly rejected the rules and conventions of mainstream comics, which typically focused on the exploits of super heroes or talking animals. Instead, they found artistic inspiration in their everyday lives and here is where politics and the art of expressing intimacy intersect. Underground comics were certainly infused with a spirit of rebellion, but the artists who participated in this movement sought first to reinvent the genre itself. Little by little, they delved into their inner lives and began to address some of the most taboo subjects of the day, including topics relating to the most personal aspects of their bodily existence. The daring these early underground comic writers showed in examining the unspoken aspects of personal life and relations went a long way toward establishing the genre as a recognized art form, opening the way for a subsequent generation of comic writers to tackle other serious topics such as war and genocide. Knowledge of the contributions that American underground artists had made to the comic book genre eventually reached Europe in the 1990s. At the time, French artists were also growing tired of their own superhero story lines and disenchanted with the mass-production model that defined the Franco-Belgian comics industry. In response to these conditions, a small group of comic book artists formed a company called L’Association (The Association) which became the first independent comic book publishing house of its kind. They paved the way for many other such enterprises and their formula for success is now being replicated in the mainstream publishing houses these independent-minded artists fled several decades ago. Part of that formula is the inspiration these artists drew from American cartoonists who began in the 1960s to share intimate aspects of their personal lives with their readership. What I have discovered thus far is the frequency with which French autobiographical comics take up and place the subject of ill health and life-threatening disease at the center of the stories they tell. Broaching the topic of ill health is not unique to the comics genre, but is rather a feature of modern autobiographical writing in general. As medical knowledge and scientific understanding have advanced in the modern era, the field of literature has worked to reclaim narratives from the medical world. But unlike other forms of literary expression, comic books offer more freedom of expression and possess a greater capacity to reflect the complexity of human identity and existence. This is especially the case with representations of human suffering. Images can configure what writing fails to grasp, allowing comic artists to express feelings and convey anguish that words can hardly express. The autobiographies I examine were produced by authors who have lived through, survived, or were in some way personally touched by a grave health crisis. Their use of the comic book genre allows them to make sense of the often life-shattering events they, or those who live in close proximity to them, have lived. I am particularly interested in the way in which these authors recount the crisis moment in their lives, how they understand the ways it affected them, and how they were able, or not, to recover from the experience. I show that our state of health, both physical or mental, has a profound effect on our identity, and how we perceive and tell stories about this dimension of our lives is crucial to forming a sense of self, particularly in a contemporary digitalized world that is now flooded with information and images once considered too private for public consumption. I demonstrate how the nine graphic autobiographies I have chosen to study are intimate expressions of vulnerable selfhood, showing how these public portraits of human weakness are a particularly postmodern way of reconstituting one’s identity in the social world. Modern and contemporary theories of human subjectivity teach us that the self is always fragmented. When we are sick, however, the task of finding a sense of stability in ourselves and in the world is even more daunting. Illness proves to be such a dominant theme in the comic book tradition, I argue, because it is a reminder of our own mortality. In the works I am studying, it is the experience of pain and the specter of death that often prompts the authors’ reflection on the self and on life. All of the works I am examining share a common feature. They exhibit a constant tension between the anxieties of revealing a deep personal vulnerability and the desire to make their suffering meaningful, which is a crucial aspect of these authors’ quest to recover and to reconstitute a sense of self in the aftermath of a debilitating illness. Informed by the insights of intimacy studies, psychoanalysis, comics studies and visual studies, I will show how the nine works I examine participate in the process of meaning-making and how the comics genre allows them to do so in particularly inventive and contemporary ways.

Television programs continue to play a significant role in a teenager's life as they become involved in dating relationships. Adolescence is a pivotal period of life. Teenagers' usage of media, especially television, provides a source of norms and scripts of what a relationship looks like. The portrayals of sexual content in teen programs has become a source of sexual information instead of parents and peers. Many parents are unaware of the sexual content teen programs deliver to their audiences. This study analyzes how teen dramas create expectations through their portrayal of relationships and intimacy on television. Five teen television programs were gathered to analyze the frequency of sexual behaviors depicted to a teen audience. This study investigates the ages, genders, types of relationships, and sexual behaviors shown and implied. The findings show all five programs consisted of high amounts of sexual behavior throughout their first seasons, which suggest that the entertainment industry for teen viewers is a powerful tool that plays a significant role in a teenager's sexual socialization.

This thesis is a contribution to a broader interdisciplinary exploration of the ways in which emotional well-being manifests in communal contexts. Using the artistic practice of Mbusa-making among the Bemba of Zambia as a case study, it understands emotional well-being as a relational practice and a dynamic process, not as an attained goal, an affective state, or a static situation. The data used for the thesis are drawn from previous research on the art of Mbusa, specifically that of Audrey Richards in the 1930s and of Bennetta Jules-Rosette in the 1970s, with supplementary distance interviews conducted by the author of this thesis, throughout 2020 and 2021. The thesis seeks to map out the experience of well-being with the utilization of conceptual tools given mainly by existential-phenomenological anthropology. Its main objective is to revisit some pioneer ethnographic studies, by focusing on Mbusa's underestimated link to emotional well-being, enriching them with contemporary theories on imagination,agency, and personhood. The thesis discusses the mainstream discourse on well-being as sit is associated with hapiness, physical health, and the social indicators for the quality of life among poor and wealthy nations. Thus, it places the practice of Mbusa amid that widespread approach, questioning it. The case of this Bemba practice in Zambia is used to illustrate the point that well-being is the universal, ever-present act of coping with adversity and to demonstrate its artistic and imaginative qualities that help people be in the world.

Diplom´s thesis is supposed to formulation safety of information system functions, description of elktronic signature and certificion authority. Next is oriented at conversion, launching and application of elektronic signature.

This thesis explores fictional representations of women’s reading practices in the early novels of Fredrika Bremer. I examine these in relation to the negotiations of reading habits in Sweden and Europe during the 1830’s, particularly pertaining to questions of gender, intimacy, desire, and corporeality. The material consists of three novels (The Family H***, The Neighbours and Home), in which the motif of women’s reading plays a significant part. In the four chapters of the thesis, I analyse key aspects of gender and reading in Bremer’s novels: 1) the popular stereotype of obsessive novel reading, and how this specific practice is portrayed in relation to the duties of a wife and mother, as well as to intimacy and secrecy; 2) representations of corrupted or illicit readers, whose reading practices disturbs the confines of nineteenth-century femininity; and 3) how these characters may challenge or bypass the restrictions of gender roles through fictional engagement. The thesis argues that Bremer’s representations of women’s reading are more complex and varied than has previously been recognized, and it reveals new aspects of these representations, such as the significance of intimacy with oneself and others in Bremer’s depictions of silent reading practices, and the transgressive power of feminine empathy. / <p>Camilla Wallin Bergström heter numera Camilla Wallin Lämsä</p>

The dissertation thesis focuses on the prototypical analysis of interactions between partners. The theoretical part builds on a number of findings described predominantly in foreign sources. It offers an overview of many important topics related to intimacy. In the empirical part, prototypical analysis reveals specific interactions that are perceived by the general public as critical for the development and maintenance of intimacy in heterosexual relationships. The research study is divided into two consecutive parts. A total of 283 respondents participated in the first part and 663 respondents in the second part. They were aged 25 to 45 years. It turns out that the quality of partner intimacy is based on mutual interactions of a certain form and a certain intensity. Their most typical representatives are identified. The results of the analysis further confirm the existence of several subtypes of intimacy, namely emotional, physical and intellectual. Sexual intimacy has a specific role. Differences in experiencing and viewing intimate interactions between men and women are monitored in many aspects. Based on the statistical analysis of the data, it was found that both sexes are significantly similar in terms of preferences. However, there is a mild inclination towards interactions that are...