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Studien undersöker huruvida ett ökat antal lästillfällen kan bidra till en förändrad attityd till läsning av skönlitteratur bland gymnasieelever. Eleverna som utgör respondenter läser Svenska 1 respektive Svenska 3, vilka får läsa 10-15 minuter i en valfri skönlitterär bok i princip varje svensklektion. Undersökningen består av metodkombinationen semistrukturerade fokusgruppsintervjuer och digitala enkäter. Enkäterna besvaras av samtliga elever i klasserna, medan fokusgrupperna består av fyra elever från varje klass. Studien använder Olle Nordbergs definition av attitydbegreppet, vilken både innehåller lust till läsning och synen på den egna läsningen. Av resultatet framkommer att en stor del av eleverna inte själva upplever en förändring i sin attityd till läsning av skönlitteratur, men att det trots detta kan generellt kan utläsas en mer positiv attityd bland eleverna. Detta genom intervju med elevernas lärare och genom de konkreta exempel på fördelar elever nämner att de upplever efter det ökade antal lästillfällen som Evas undervisningsmetod innebär.

Tolkien’s Middle Earth is characterised by the conflict between the forces of good, often represented as guardians of nature juxtaposed to the forces of evil, marked by a voracious edacity for a nature destroying industry. In fact, the second volume of the LotR deals with Saruman’s war against nature. Dickerson and Evans point out that “Saruman sacrifices the values of permanence or sustainability for his grand scheme of domination and ownership” (68). Yet, any previous research of this struggle has drowned out the very voice of nature which industry has sought to silence forever. This project has presented Tolkien’s Legendarium in a new, non-anthropocentric fashion, where nature and its agents, like the Ents and Hobbits possess explicit and implicit voices of dialogic ecocriticism and laughter. Against dialogue, nature, and laughter we have found Tolkien’s take on the nature of evil. Defined in Melkor, Sauron and Saruman by their monologic, ecosadist tyranny. Evil, in Middle Earth does not seek to just squash and burn culture and civilisation but to uproot every forest and dry out every single stream. Ecosadism is plagued by an eternal struggle for a single voice. A quest which Bakhtin arguments and Tolkien’s narrative show that it is impossible. Dialogue is one of fundamental sources of cognition and being, of personhood and oneness with nature while laughter is the primer of wholeness’ found in the world and the subversion of norms and rigid hierarchies. This independent project demonstrates that Professor Tolkien’s work contains ecocritical aspects beyond those of romantic pastoralism and bucolic representations of nature. Instead, through the dialogue present in the very nature of Middle Earth, between trees and Ents, animals and non-human beings and objects, Tolkien achieved a deep ecological subversion of anthropocentric perspectives in literature. This essay shows that, by unshackling his narrative from the constraints of reality, Tolkien’s work through the medium of fantasy allows us to peer through minds and eyes unlike our own. In so doing, through the representation of voices and laughter found in Fangorn, the Shire and Hobbits themselves The Lord of the Rings endows nature with a polyphonic voice independent of human imposition. Thus, achieving the most salient depiction of ecocritical agency and subjectivity, returning the reader to a world where nature is not inert or passive. Where nature is no mere source of resources but an equal in dialogue, existence and meaning as humanity. Finally, by realising Tolkien’s ecocritical dialogue and laughter, his work does not stand as a warning about the loss of an equal in nature but burns bright as a promise for humanity in a living, breathing, and responding world. / <p>Godkänt datum 2021-06-06</p>

I detta arbete undersökte jag fadersgestaltningarna i Åsa Linderborgs Mig äger ingen från 2007 och Alex Schulmans Skynda att älska från 2009. Jag ställde mig frågan vilken roll fädernas kroppar spelar i respektive barns minnesbilder, vilken typ av manlighet som träder fram genom respektive faderskap och om Leif (fadern i Mig äger ingen) och Allan (fadern i Skynda att älska) är representanter för någon särskild maskulinitet. Jag utgick från sociologen Raewyn Connells teori om maskuliniteter men tar därtill också särskild hjälp av Thomas Johanssons diskussion om barns minnesbild av sina fäder. Jag kom fram till att bägge fädernas kroppar spelar en central roll i respektive barns minnesbilder. Kroppen symboliserar trygghet och här särskilt när barnet omfamnas av sin fader. Vidare var det porträtteringen av Leifs kropp som hjälpte mig att konstatera att Leif kan betraktas som en marginaliserad man vars kropp fungerar som en maskin vilken jobbar på uppdrag åt den stora samhällskroppen, här med Michel Foucault och Ulf Mellströms respektive arbeten som utgångspunkter. Vidare kom jag fram till att Allan är en delaktig man eftersom han drar nytta sin patriarkala utdelning när han väljer att forma sitt faderskap på det sätt som gynnar honom själv. Ytterligare en slutsats jag kom fram till är att Leif stundvis drar nytta av denna utdelning och därmed även han blir en del av det hegemoniska projektet. Allans ålderdom och Leifs klasstillhörighet diskuteras i arbetet även om det är maskulinitet och faderskap som är uppsatsens nyckelbegrepp.

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Abstract  Envy and need: A study of violence in the oldest Grimm tales This essay analyzes the violence and power descriptions in three different fairytales of Kinder- und Hausmärchen by the Grimm brothers. The analyzed fairytales are Hansel and Gretel, Cinderella and Snow White. Questions answered are in which literary contexts violence and power occurs, what the motives of the abusers are, and what mutual similarities or differences the fairytales display.    The violence described can be linked to various reasons such as resentment, envy and power, and descriptions include both physical and psychological violence. Benefits are gained through manipulation or power positions.   The result show that there are similarities between the fairytales, although some differences occur. Envy and resentment only occur in Cinderella and in Snow White, however not in Hansel and Gretel. Violence is used by the antagonists as well as the protagonists. Throughout the stories antagonists use violence before the protagonists whose violence is mirrored as self-defense.

Northern Sweden, or Norrland, is depicted as a periphery in many areas in Swedish society and the peripheralization is produced and reproduced in media, culture, and news as well as political rhetoric. Karin Smirnoff´s novel Jag for ner till bror is set in a small town in Northern Sweden, making it a relevant object of study for how peripheral representations are reproduced or criticized in literature, which is the aim of this essay. By using established theories concerning centre and periphery, which has been adapted for use in literary analysis by focusing on external as well as internal characterizations, in combination with a method of thematic analysis this essay hopes to answer the questions: What representations of centre and periphery can be found in the text? How does the text represent the Northern small town? And how does the text represent the “närande och tärande”, an established dichotomy in centre and periphery rhetoric? The results of this study show that the novel process these representations in a nuanced way, and critically reproduces them. The main protagonist's struggle with trauma shows an internal periphery and illustrates the depth and nuance of these concepts.

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