This thesis studies Karin Boye’s novel Kallocain: Roman från 2000-talet (1940) and Ett öga rött (2003) by Jonas Hassen Khemiri. The aim of the analysis is to examine the novels’ portrayals of power in order to see if there are traces of totalitarian tendencies from the dystopian novel Kallocain, in the contemporary story of Ett öga rött. Due to the intention of the analysis, I chose to apply a palimpsestic methodology, meaning I have analyzed Ett öga rött – symbolically – on top of Kallocain. The theoretical groundwork consists mainly of Michel Foucault’s theory on power, particularly from his book Discipline and Punish (1975), but other works that have studied Foucault have been of help as well. My results show that the same disciplinary powers are visible in Kallocain and in Ett öga rött. The governments, schools and other individuals exert the same type of power over the main protagonists Leo and Halim, which confirms that the totalitarian methods used in the fictional state of Kallocain are also utilized in Hassen Khemiris portrayal of Sweden in Ett öga rött. The discussion on knowledge is applicable in the same way. The notions of propaganda and truth are hard to separate in both novels, but I conclude that knowledge is used to control and adapt nonconforming people to standard society, while also constructing the protagonists as subjects and objects of power. This happens in Kallocain as well as Ett öga rött. The protagonists also use three methods to resist the disciplinary power, mainly: external resistance, internal resistance, and mimicry. These forms of resistance aim to free the protagonists from the oppressive norms and make them feel like individuals who cannot be controlled.

ABSTRACTIn the autumn of 2017 361 testimonies of sexualized violence and abuse from women, previously or currently active in the Church of Sweden, were published under the hashtag #vardeljus as a part of #metoo. Neither the church nor theology can ignore or avoid the subject after this publication. However, despite this obvious need to address #vardeljus theologically, there has been a lack of theological reflection within a Swedish context. Indeed, the questions of if and how theology continue to contribute to the legitimation and maintenance of structures that enable sexualised violence and how theology can help women exposed to sexualised violence remain largely unanswered. This study therefore aims to provide some answers. Firstly, it seeks to identify what needs are expressed in the testimonies from #vardeljus by examining the theological conclusions about these, as drawn by Anne Sörman, from a feminist theological perspective. Secondly, it analyses whether contemporary interpretations of original sin by Lutheran theologians Eva-Lotta Grantén and Anna Karin Hammar contain useful, relevant, and sufficient resources to meet these demands and acknowledge women who experienced sexualised violence in church environments. Thirdly, this study contributes to the future shaping of theology by concluding which complements are needed to ensure that theological interpretations of sin, such as for example those by Grantén and Hammar, are relevant also for women subjected to sexualized violence. By using feminist theological textual analysis, where key themes as represented by Susan Frank Parsons, Sólveig Anna Bóasdóttir, Rita Nakashima Brock and Rebecca Ann Parker are defined and used, this study queries whether these needs are acknowledged and met in interpretations of original sin by Grantén and Hammar. In this examination their usage of such theological concepts as original sin, sin, accountability and guilt are weighted against the #vardeljus-experiences of sexualised violence in order to establish whether original sin is a concept suitable for acknowledging women and including them in theology. Grantén and Hammar attempt to make original sin a useful and understandable concept for contemporary believers, although they differ in their interpretations of this concept. Grantén considers that original sin entails guilt which primarily concerns and affects the relation between an individual and God and only secondarily interhuman relationships. Hammar argues against the usage of original sin and guilt and instead proposes to use destruction and (original) accountability as contemporary-friendlier alternatives. However, neither Grantén, whose main concern is to study original sin as a cause to the existence of sin and evil, nor Hammar, who applies a more consequence-directed approach, manages to adequately acknowledge or adapt their interpretations after women’s experiences of being victims to sexualised violence. This study concludes that if contemporary interpretations of original sin aren’t supplemented with interpretations that illuminate differences within a group where everybody is a sinner, acknowledge women as victims, emphasise the need of identifying and holding perpetrators accountable, and, at the same time, offer tangible help to victims, then the resources that the concept of original sin offers are neither helpful nor relevant to women that are victims of sexualised violence.

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This diploma thesis deals with the genre of intercultural children's literature and the literature for young adults on the example of the analysis of current German works. The used method is a combination of structural analysis of compositional, language and thematic component of the works, content analysis and the theory of reader-response criticism. Based on the analysis of four works, the genre of intercultural literature is defined in the relation with the themes of home, homeland and cultural identity. Home is defined not only as a physical space to live but also in the spiritual sense of the word represented by the family relationships, which mean safety and security to the figures. Homeland is perceived as an extended paralell to home. It is a space which is close to the figures and they can easily understand the relations here. Home and homeland both influence the concept of identity, environment being the most important aspect of it. The figures are in conflict of their roles being assigned to them by their environment and the way they define themselves. If the figures have to choose between their home and homeland, they choose their home in the spiritual sense - their family. If the family fails to fulfil its role, they search for the comfort in their homeland.

The dissertation takes as a point of departure that 1945 is usually mentioned as a start for a new type of Swedish children’s literature. In the majority of handbooks in and reviews of the history of Swedish children’s literature this is repeated as a fact. A reason for this is that three famous authors of children’s literature in Swedish all had their breakthrough this year: Lennart Hellsing, Tove Jansson and Astrid Lindgren. They are regarded as the most important examples of the new type of children’s literature. Especially Astrid Lindgren’s Pippi Långstrump [Pippi Longstocking] has been seen as a symbol for the free child and for the revolt against the adult world and the stiff rules of etiquette. At the same time as 1945 has been assigned as the birth date for a new children’s literature the general view of the preceding period, between the two world wars, has been that it was stagnant and uninteresting. In this study, the hypothesis was that the new did not emerge from an empty space. After extensive reading of children’s literature from the time between the wars it was discovered that there were new tendencies in this literature similar to those ascribed to the literature from the period after 1945. A more detailed analysis was performed comparing Astrid Lindgren’s Pippi Långstrump with works by the Swedish author Ester Blenda Nordström and the Danish author Karin Michaëlis’. The results show that the children’s literature produced between the wars was much more complex than previously stated and has several characteristics similar to the literature produced after 1945. As a consequence it seems necessary to modify the notion of 1945 as the definite starting point for the modern Swedish children’s book. A comparative analysis of the three authors is used as verification in the thesis. The analysis use among others the theories of Bachtin about the “popular laugh culture” and shows that the main characters in the books by Nordström and Michaëlis to the same extent as Pippi Långstrump illustrates the norm-breaking and independent child. The similarities between the work of Astrid Lindgren and Nordström and Michaëlis are obvious in terms of content as well as in expressions and type of language. The main focus in this dissertation is a textual analysis against a background of social context analysis. The conclusions state that there clearly were predecessors to the work of Astrid Lindgren. To simply state that 1945 was the year when the modern children’s book was born thus no longer seems relevant. / <p>Akademisk avhandling för avläggande av filosofie doktorsexamen i litteraturvetenskap vid Göteborgs universitet, som med tillstånd av</p><p>humanistiska fakultetsnämnden kommer att offentligen försvaras fredagen den 27 maj 2011, kl. 10 i Lilla Hörsalen, Humanisten, Renströmsgatan 6, Göteborg</p>

In modern times of globalisation, most countries no longer consist of a homogeneous population. People from different backgrounds, with different stories, religion and culture live together in the same community. Unfortunately, this creates challenges and a modern state needs to have a plan for integration so that all these groups and individuals may live together peacefully, which is important in aspects of universal human rights and human dignity, but also for the function of a society. In this Master's thesis in Human Rights, questions about integration are discussed in a European context through four ideal-typical integration policy options from a model by Karin Borevi; together with perspectives from Seyla Benhabib, Abdelmalek Sayad and Charles Taylor. The four ideal-typical options for integration that are used in this thesis are: 1: Assimilaion to an ethnic community 2: Politics for ethnic exclusion 3: Assimilation to a civil community 4: Multicultural politics. Integration in Sweden, Great Britain and France during the 90's are used as illustrative examples of integration in order to be able to discuss the ideal-typical policy options in relation to real examples for demonstrating which political ideas and values that are built into different models of integration. In the end a normative discussion results in a solution of which values that should be prioritised and which strategy that is the best to accomplish these values. I conclude amongst other things that different forms of integration value culture, groups or individuals differently and that many different types of strategies and politics can be put into the same ideal-typical option for integration. People tend to treat cultures as unchangeable and well-defined units, even though they in reality seem to be of a changeable nature. The modern state should in my opinion work more with the principles around which type of society that would be the best for all its citizens and not so much how we should preserve what cannot be preserved in the first place, like cultures. We should create societies where cultures can mix and change. The global world is here to stay and so is the heterogeneous society, the state should focus on creating a society built on this fact, where society and people as individuals may grow.

The aim of this thesis is to study representations of identity and (in)visibility in Swedish lesbian novels written in the 1930s, and to provide a summary of Swedish lesbian literature up to the early 21st century. This study has been done through a close reading primarily of Charlie by Margareta Suber (1932), Fröknarna von Pahlen by Agnes von Krusenstjerna (1930–1935) and Kris by Karin Boye (1934). Lesbian literature is discussed as a loose category, a construction which can be used as an analytical tool in a conscious and reflexive way, with its basis in the categories of author, text and reader. In short, I define lesbian literature as novels written by women, about lesbian figures and/or relationships, and for lesbian readers in the sense that the literature depicts lesbians from an insider’s perspective. As regards the period before 1930, the focus is on romantic friendship and the excitement zone when the romantic friendship becomes a sexual one, as seen in the fictitious case of Sin fars dotter (1920) by Lydia Wahlström. Sexological theories, the image of “the new woman” and changes to the law all colour the first half of the 20th century. This is seen in Charlie by Margareta Suber, where the author makes use of many such explanations in her creation of a lesbian figure. A reading of Fröknarna von Pahlen by Agnes von Krusenstjerna shows an intricate pattern of relationships at its heart. My analysis charts several same-sex couples, a lesbian single woman and two collectives; that is to say, the female collective and the male homosexual collective. The relationships between women are many-faceted and include everything from romantic friendship, kinship and sensualism to eroticism and shared parenthood. In my analysis of Kris by Karin Boye, I focus on Malin, the main character, and the development of her sense of identity, in which the struggle between the language of the world around her and her own emotional experience of love for a woman is a central theme. After the 1930s, the historical context changed in terms of everything from decriminalisation in 1944 via the homophobic panic of the 1950s to the impact of queer theory in the 1990s. Swedish lesbian literature addresses everything from crime of passion (murder) to the coming out process of young women. There exists in all novels from the 1930s an interplay that is (in)visible: the characters or lesbian relationships depicted are both visible and invisible at the same time. The characters are more or less aware of the potential risks attached to being visible as a lesbian, and often they do not notice themselves when this occurs. During the course of the 20th century, (in)visibility becomes replaced by openness and secrecy, and the visibility of the lesbian characters is politicised. / The abstract is translated by Janet French.

Denna undersökning har sin utgångspunkt i två romaner: Karin Boyes Kris, och Hagar Olssons Chitambo, två verk som delar många likheter. Det första delsyftet är följaktligen att utföra en komparativ och tematisk undersökning av de båda romanerna, i vilken temat frigörelse står som primär utgångspunkt. Likheterna återfinns inte enbart i romanernas innehåll, utan även i utomtextuella faktorer: författarna har recenserat varandras respektiveromaner, omständigheter som motiverar uppsatsens andra delsyfte, att undersöka huruvida Karin Boye i sitt författande av Kris kan tänkas ha påverkats av Olssons roman. Med utgångspunkt i tre relevanta infallsvinklar påvisar jag likheterna mellan verken. Identitet framstår som ett nyckelord för förståelsen av de båda protagonisternas utveckling, och syntesen av deras utveckling mot en inre tyngdpunkt utesluter inte på något sätt behovet av det kollektiva, tvärtom utvecklar de båda ett visst mått av politisk medvetenhet. Båda verken präglas av en dualitet mellan olika motsättningar, och de inre slitningar som romanernas protagonister plågas av kan sammankopplas med psykoanalysens syn på själslivet. Protagonisternas utveckling karakteriseras även av ett rituellt mönster: död och återuppståndelse, och i verken återfinns en rad explicita hänvisningar till juståteruppståndelse, som även skildras med liknande litterära begrepp. I den avslutande intertextuella analysen påvisas utifrån tidigare analysavsnitt och utifrån recensionerna att ett intertextuellt samband mellan de båda verken i hög grad är sannolikt.

Denna undersökning har sin utgångspunkt i två romaner: Karin Boyes Kris, och Hagar Olssons Chitambo, två verk som delar många likheter. Det första delsyftet är följaktligen att utföra en komparativ och tematisk undersökning av de båda romanerna, i vilken temat frigörelse står som primär utgångspunkt. Likheterna återfinns inte enbart i romanernas innehåll, utan även i utomtextuella faktorer: författarna har recenserat varandras respektive romaner, omständigheter som motiverar uppsatsens andra delsyfte, att undersöka huruvida Karin Boye i sitt författande av Kris kan tänkas ha påverkats av Olssons roman. Med utgångspunkt i tre relevanta infallsvinklar påvisar jag likheterna mellan verken. Identitet framstår som ett nyckelord för förståelsen av de båda protagonisternas utveckling, och syntesen av deras utveckling mot en inre tyngdpunkt utesluter inte på något sätt behovet av det kollektiva, tvärtom utvecklar de båda ett visst mått av politisk medvetenhet. Båda verken präglas av en dualitet mellan olika motsättningar, och de inre slitningar som romanernas protagonister plågas av kan sammankopplas med psykoanalysens syn på själslivet. Protagonisternas utveckling karakteriseras även av ett rituellt mönster: död och återuppståndelse, och i verken återfinns en rad explicita hänvisningar till just återuppståndelse, som även skildras med liknande litterära begrepp. I den avslutande intertextuella analysen påvisas utifrån tidigare analysavsnitt och utifrån recensionerna att ett intertextuellt samband mellan de båda verken i hög grad är sannolikt.

Vad är för- och nackdelarna med att sceniskt gestalta musik? Intervju med Karin Rehnqvist, Kent Olofsson, Mattias Petersson och Martin Fröst. Reflektioner egna arbeten: Föreställningen Någon borde ta tag i det här... på Folkoperan 26 april 2014. Rörelse, röst och spel för stråktrio ensemble recherche. / <p>Bilaga: 1 DVD</p><p>Titel: Någon borde ta tag i det här...</p><p>Text och Musik: Maria Lithell Flyg</p><p>Medverkande: KammarensmbleN (Jörgen Pettersson, Anders Kilstrom, Kristian Möller, Ivo Nilsson, Jonny Axelsson) Thomas Sepp, Disa Krosness, Jonas Jurström, samt förinspelad röst Maria Lithell Flyg.</p><p>Dirigent: Andreas Eriksson</p><p>Koreografi: Disa Krosness</p><p>Scenografi och rekvisita: Maria Lithell Flyg</p><p>Kostym: SaraLo Serra</p><p>Smink/Mask: Amelia Cazorla</p><p>Ljudtekniker LarsEmil Öjeberget och Jerker Eklund</p><p>Ljus och Ljussättning: Mats Andreasson</p><p></p><p>Föreställningen gavs två gånger kl 14.00 och 20.00</p> / examensprojekt