Föremålet för min undersökning är Karin Boyes roman Kris och intentionen har varit att finna en nytolkning av den ofta biografiskt lästa texten. Syftet var att redogöra för hur romanen synliggör samtidens patriarkala maktordning som genomsyrar samhällets auktoriteter och reducerar det kvinnliga subjektet. Undersökningen har också innefattat hur huvudpersonen Malin tar sig ur krisen genom att återupprätta egenviljan och erkänna driften som en naturlig del av jaget.      Med utgångspunkt i textens litterära kvaliteter och med ett kritiskt feministiskt perspektiv har jag analyserat framställningen av romanens kritiska tendens som ett uttryck för kvinnlig frigörelse. Malin genomgår en värdemässig identitetskris vilket är romanens centrala tema och samtidigt en möjlig allegori över samtidens sociala omvälvningar. Krisen utgörs av en inre splittring där uppbrottet från traditionella och religiösa förordningar är den enda räddningen undan självutplåning. Utöver ramberättelsen om Malins kris finns inslag av varierande textkaraktär som brev, dikter och dialoger som splittrar huvudberättelsen. Formens experimentella utförande polemiserar på detta sätt mot den traditionella romankonsten och förstärker temats kritiska tendens. Därav samverkar form och innehåll i ett ifrågasättande av samtidens förtryckande normer, reaktionära auktoriteter och traditionens “absoluta sanningar”.

[Truncated introduction] This thesis will introduce Petra Karin Kelly, former Green politician and campaigner for social justice and environmental issues to an English-speaking audience as an important figure in the development of ideas relating to ecofeminism, nonviolence, and Green politics and utopias. Kelly, born in 1947 in Germany, spent the latter half of her childhood in the United States, and attended university there before returning to Europe. While working with the European Community in Brussels, Kelly became involved in grassroots politics in Germany and was one of the co-founders of the German green party, Die Grunen, (literally: the Greens) in 1979. She was to become a formidable politician through her passion for grassroots politics, nonviolence and feminism and her excellent leadership skills. Later ostracised by the party, due in part to her inability and unwillingness to conform to party rules, Kelly worked independently, giving speeches and promoting peace and the importance of human rights. However, at the age of 44, she was murdered by her partner, Gert Bastian, who then shot himself. It should be noted that texts so far written on Petra Kelly have been essentially biographies, which, while encompassing much of her academic and political life, focus heavily upon her personal life, in particular her relationships with married men, and her long term relationship with former NATO General Gert Bastian ... Therefore, the aim of the dissertation is not to ignore the importance of personal matters, rather to ensure a professional approach towards them. For this reason, the focus of this sociopolitical and sociohistorical thesis is upon the elements of ecofeminism, nonviolence and utopia as they relate to Petra Kelly’s politics, both within her role with Die Grunen and in her political life outside of German parliament.

A presente tese investiga a obra de pinturas de Karin Lambrecht a partir de sua cronologia e da constituição de um arquivo particular organizados pela própria artista e a autora. A obra e as análises construídas sobre ela são percebidas a partir das memórias familiares, seu período de estudos e formação acadêmica, incluindo o aprendizado em pintura na atual Universität der Künste, em Berlim.Foi destacada a formação de um imaginário artístico que se constituiu a partir das inúmeras leituras da Bíblia Luterana, da formação artística obtida por meio de estudos com professores que propunham grande rigor técnico e a pintura de cunho abstrato.Analisa-se, igualmente, os frequentes anacronismos que permeiam as obras e se revelam por meio da temática das pinturas, observadas sob o ponto de vista das afinidades artísticas, da história da arte, do corpo e do sacrifício.Os anacronismos constituem a obra de Lambrecht criando relações entre o passado e o presente que se revelam nos temas, materiais e procedimentos na realização da pintura. Observa-se da mesma forma que, as memórias da artista se expressam igualmente por meio das diferentes representações do corpo e do humano por meio do corpo da obra, da cruz, do corpo sagrado e do sacrifício. / This thesis investigates the painting works of Karin Lambrecht from its chronology and the constitution of a private file organized by the own artist and the author. The work and analyzes which are built are perceived considering family memoriesfrom the period of study and academic training, including the apprenticeship in painting in the current Universität der Künste in Berlin.The formation of an artistic imaginary that was formed from the numerous Lutheran Bible readings, from the artistic training obtained through studies with teachers who proposed a great technical rigor and the paintings of an abstract nature were highlighted.The frequent anachronisms that permeate the work and reveal themselves through the theme of the paintings have also been analyzed, observed from the point of view of artistic affinities, of the history of the art, the body and sacrifice.The anachronisms constitute the work of Lambrecht creating relationships between the past and the present that are revealed in the theme, materials and procedures for the making of the painting.The prominence of symbolic representations of the body and of the human in the work is observed through a selection of works which discuss the work corpus, the interaction of the body of the artist with the painting and the sacred body.

A presente tese investiga a obra de pinturas de Karin Lambrecht a partir de sua cronologia e da constituição de um arquivo particular organizados pela própria artista e a autora. A obra e as análises construídas sobre ela são percebidas a partir das memórias familiares, seu período de estudos e formação acadêmica, incluindo o aprendizado em pintura na atual Universität der Künste, em Berlim.Foi destacada a formação de um imaginário artístico que se constituiu a partir das inúmeras leituras da Bíblia Luterana, da formação artística obtida por meio de estudos com professores que propunham grande rigor técnico e a pintura de cunho abstrato.Analisa-se, igualmente, os frequentes anacronismos que permeiam as obras e se revelam por meio da temática das pinturas, observadas sob o ponto de vista das afinidades artísticas, da história da arte, do corpo e do sacrifício.Os anacronismos constituem a obra de Lambrecht criando relações entre o passado e o presente que se revelam nos temas, materiais e procedimentos na realização da pintura. Observa-se da mesma forma que, as memórias da artista se expressam igualmente por meio das diferentes representações do corpo e do humano por meio do corpo da obra, da cruz, do corpo sagrado e do sacrifício. / This thesis investigates the painting works of Karin Lambrecht from its chronology and the constitution of a private file organized by the own artist and the author. The work and analyzes which are built are perceived considering family memoriesfrom the period of study and academic training, including the apprenticeship in painting in the current Universität der Künste in Berlin.The formation of an artistic imaginary that was formed from the numerous Lutheran Bible readings, from the artistic training obtained through studies with teachers who proposed a great technical rigor and the paintings of an abstract nature were highlighted.The frequent anachronisms that permeate the work and reveal themselves through the theme of the paintings have also been analyzed, observed from the point of view of artistic affinities, of the history of the art, the body and sacrifice.The anachronisms constitute the work of Lambrecht creating relationships between the past and the present that are revealed in the theme, materials and procedures for the making of the painting.The prominence of symbolic representations of the body and of the human in the work is observed through a selection of works which discuss the work corpus, the interaction of the body of the artist with the painting and the sacred body.

A presente tese investiga a obra de pinturas de Karin Lambrecht a partir de sua cronologia e da constituição de um arquivo particular organizados pela própria artista e a autora. A obra e as análises construídas sobre ela são percebidas a partir das memórias familiares, seu período de estudos e formação acadêmica, incluindo o aprendizado em pintura na atual Universität der Künste, em Berlim.Foi destacada a formação de um imaginário artístico que se constituiu a partir das inúmeras leituras da Bíblia Luterana, da formação artística obtida por meio de estudos com professores que propunham grande rigor técnico e a pintura de cunho abstrato.Analisa-se, igualmente, os frequentes anacronismos que permeiam as obras e se revelam por meio da temática das pinturas, observadas sob o ponto de vista das afinidades artísticas, da história da arte, do corpo e do sacrifício.Os anacronismos constituem a obra de Lambrecht criando relações entre o passado e o presente que se revelam nos temas, materiais e procedimentos na realização da pintura. Observa-se da mesma forma que, as memórias da artista se expressam igualmente por meio das diferentes representações do corpo e do humano por meio do corpo da obra, da cruz, do corpo sagrado e do sacrifício. / This thesis investigates the painting works of Karin Lambrecht from its chronology and the constitution of a private file organized by the own artist and the author. The work and analyzes which are built are perceived considering family memoriesfrom the period of study and academic training, including the apprenticeship in painting in the current Universität der Künste in Berlin.The formation of an artistic imaginary that was formed from the numerous Lutheran Bible readings, from the artistic training obtained through studies with teachers who proposed a great technical rigor and the paintings of an abstract nature were highlighted.The frequent anachronisms that permeate the work and reveal themselves through the theme of the paintings have also been analyzed, observed from the point of view of artistic affinities, of the history of the art, the body and sacrifice.The anachronisms constitute the work of Lambrecht creating relationships between the past and the present that are revealed in the theme, materials and procedures for the making of the painting.The prominence of symbolic representations of the body and of the human in the work is observed through a selection of works which discuss the work corpus, the interaction of the body of the artist with the painting and the sacred body.

Ignatius av Loyolas konkreta pedagogiska övningar attraherar samtidens kristna från olika samfund och i Svenska kyrkan växer intresset för den ignatianska spiritualiteten. Syftet med denna studie är att genom intervjuer, enkät och teori undersöka den ignatianska spiritualitetens framgång inom Svenska kyrkan i dag. Totalt 29 informanter har genom djupintervjuer och enkäter beskrivit sin ignatianska praktik. Informanterna i studien beskriver att den ignatianska spiritualiteten tar deras individuella erfarenheter i bruk. Detta samtidigt som syftet är att de ska förstå vad som är Guds vilja med livet. Informanterna upplever att den ignatianska spiritualiteten har gett dem möjlighet till en personlig gudsrelation samt gett dem nya pedagogiska metoder för att fördjupa sin tro och kunna se Gud i vardagen. Informanterna menar sig ha sökt en fördjupning av sin tro och att de funnit denna fördjupning genom den ignatianska spiritualiteten. Studiens teoretiska perspektiv utgörs av religionsfilosofen Charles Taylors teori om ”den subjektiva vändningen”, Linda Woodhead och Paul Heelas ”subjektiveringsteori” samt Karin Johannesons pastoralteologiska reflektion om andlig träning i en luthersk kontext. Taylor menar att kulturen i väst genomgått ett stort skifte som innebär att yttre auktoriteter förlorar i betydelse och den enskildes inre istället blir den främsta auktoritetskällan. Woodhead och Heelas subjektiveringsteori menar att människors immanenta gudstro växer i väst medan den transcendenta gudstron avtar och Johannesson presenterar tre viktiga kännetecken för andlig träning i en luthersk kontext. Hon menar att en sådan bör vara anti-individualistisk, ta sig uttryck i vardagen och sätta den fördjupade gudsrelationen i centrum I min studie blir Charles Taylors teori om den subjektiva vändningen synlig. Den ignatianska spiritualiteten talar till det personliga subjektet men förankrar praktiken i den kristna traditionen. Woodhead och Heelas subjektiveringsteori har jag funnit visst stöd för, men något som skiljer sig från teorin är att Gud som auktoritet inte förkastas. Ett intressant resultat som empirin visar är att informanterna uppskattar de auktoritära drag som spiritualiteten bär på. Studiens samlade bild av den ignatianska spiritualitetens funktion är i linje med Johannessons beskrivning av en anti-individualistisk andlighet, som tar sig uttryck i vardagen och som sätter den fördjupade gudsrelationen i centrum. Informanterna upplever att Ignatius pedagogiska metoder kan vara ett sätt att ge svenskkyrkliga handfast ledning i konsten att fördjupa sin tro på ett sätt som är i linje med luthersk teologi. Studien visar att metoderna fungerar väl i senmodernitetens subjektiva vändning utan att Gud som auktoritet överges.

Den här studien undersöker konsumtionskritiken i Karin Boyes debutroman Astarte från 1931. Romanen gestaltar det framväxande konsumtionssamhället i Stockholm i början av 1900-talet. Genom olika tidsmarkörer som film från Hollywood och jazz kontextualiseras berättelsen i sin tid.  Under 30-talet debatterade Berthold Brecht och Georg Lukács modernismens roll i den marxistiska litteraturen. Studien om Astarte tar avstamp i den debatten och visar hur Astarte blir konsumtionskritisk utifrån Brechts begrepp alienations-effekten. Romanen är modernistisk till sin form; genom olika berättartekniska grepp bryter Boye upp identifikationen med romankaraktärerna vilket skapar ett avstånd till texten. Titeln är namnet på en antik gudinna som förekommer som skyltdocka i romanen. Skyltdockan påverkar karaktärerna genom ett spel av blickar. Gudinnans roll som skyltdocka analyseras utifrån konsumtionskritiska perspektiv, vilket synliggör hur varuhusen exploaterar religiösa myter. Karaktärerna påverkas av olika komersiella intressen vilket reifierar dem till ting. Den moderna staden porträtteras emellertid som en plats för ytlig narcisism där människor strömlinjeformas till tomma skyltdockor. Genom att visa på konsumtionskritiska drag i Astarte synliggörs Boyes roll i den svenska modernismen. Studien visar även hur äldre marxistisk teori kan tillämpas för ny förståelse idag.

I projektet Lesbisk Litteratur har jag undersökt lesbiskhet, materialitet, pyssel och grafisk form – som innehåll, metod och rumslig gestaltning. Syftet med projektet har varit att genom hand och tanke lära mig bokformgivning – omslag, inlaga och sättning, utforska tekniker och material genom grafisk form samt att läsa, lära och sätta mig in i ny kunskap om detta och praktiskt överföra det till ett fysiskt undersökande. Projektet har materialiserats i och tagit formen av en bok och flera bokomslag, ett bokförlag, ett mobilt kontor och utställningsyta, möbler och diverse bokparafernalier, till exempel ett girdle book belt och bokmärken.

The present essay explores artworks of Karin Larsson through the feminist theoretical field of studies. The following three textile works were in the centre of the study, Kärlekens ros, Duk med tecken and Sashiko-gardin. The connection between japonisme, Japanese inspired art, and Karin Larssons art works were studied. Through feminist theories by art historians such as Linda Nochlin and Griselda Pollock the experience of being a woman in the 1800s affected the works of Karin Larsson were discussed. It was found that Karin Larssons upbringing and education as a woman differs from the usual male art student, which affected her art works. The subjects of her art works were also often the result of personal experiences. Furthermore, a correlation between the art works and Japanese woodblocks and Japanese embroidery techniques were identified.

After the publication of T.S. Eliotʾs famous modernistic poem The Waste Land in 1922 it took about nine years until two Swedish literature theoreticians decided to translate it into Swedish. The translation was made for a publication in a modernistic journal, Spektrum, for which they both were co ̶ founders and editors. The two Swedes were Karin Boye, a famous modernistic poet, writer and literature critic, and Erik Mesterton, also a literature critic with a deep interest in English poetry generally and T.S. Eliot particularly. This essay aims to compare the translation of The Waste Land that Boye and Mesterton made during the winter of 1931 ̶ 1932, with Eliots original poem, with the ambition to determine what kind of translation Boye and Mestertonʾs work resulted in. Starting from Schleiermacher, modern translation theories are examined and finally the translation named Det öde landet from 1932 is analyzed from a model by Mats Malm from his 1996 book Minervas äpple. By using the distinctions of mimetic, analogue, organic and external forms in the area of the poem's metre and style, and the distinctions of metaphrase, paraphrase and imitation in the area of the poemʾs content, the essay examines what has been the translatorʾs priorities during the process of translation, how Boyeʾs modernistic style shines through in the translation and how Mestertonʾs knowledge about Eliotʾs style in poetry shows in the finished work. The analysis shows that the translation leans toward a mimetic form, and is to be considered a paraphrase when it comes to the content. This shows that Boye and Mesterton had an intention to reproduce both Eliotʾs meaning and poetic style to the swedish readers, but also that the translators are capable of being dynamic both when it comes to meaning and form.