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I det här arbetet undersöker vi hur dystopisk skönlitteratur kan förbereda elever till att bättre hantera katastrofer i framtiden men också hur dystopierna kan fungera som didaktiska verktyg för värdegrundsarbetet. Vi undersöker om arbetet med dystopier i skolan kan främja elevernas framtidstro, sökandet efter identitet samt det kritiska tänkandet. Studien utgår från litteraturdidaktikern Malin Alkestrands teori som återfinns hennes två böcker: Magiska möjligheter (2016) och Mothers and murderers (2021). De dystopiska skönlitterära verk som vi valt att analysera är: 1984 av George Orwell (1949), Det sextonde året av Kim Ligett (2020) och de tre böckerna i Divergent - serien av Veronica Roth (2012, 2013, 2014). Vi har valt att utföra en tematisk närläsning av de valda romanerna. I stöd av flera teoretiker och värdegrunden har vi diskuterat vårt analyserade resultat. Resultatet visar att arbetet med dystopisk skönlitteratur kan öppna upp för samtal kring etiska förhållningssätt och kritiskt tänkande. En del av de valda romanerna är mer lämpade än andra att använda sig av i undervisningen. Dock finns teman i alla de romanerna som kan motivera eleverna till att potentiellt bli mer aktiva medborgare och bli bättre förberedda för framtiden, därav fungerar de som didaktiska verktyg. Pedagogen måste vara medveten om problematiken som kan finnas i romanerna och synliggöra de värden som skolan ska förmedla till sina elever. Ett skönlitterärt verk kan inte vara utan eller med didaktisk potential.

Syftet med studien är att få mer kunskap runt vad förskollärarnas egna beskrivningar är om hur och varför de på förskolan arbetar med högläsning och berättande och om det ser annorlunda ut för olika åldersgrupper på förskolan. Studiens metod är kvalitativ och består av fyra semistrukturerade intervjuer av förskollärare på två olika förskolor. Resultatet visar att förskollärarna tillsammans med de yngre barnen samtalar och ställer frågor om bilderna i litteraturen och att de yngre barnen får återberätta det som lästs för dem med hjälp av till exempel sagopåsar och tillsammans med de äldre barnen samtalar de även om texten i litteraturen. Högläsning är något som alla förskollärarna gör för barnen oavsett ålder och den sker framförallt spontant under hela dagen. Förskollärarna anger att de har högläsning, berättande och samtal för att de anser att det gynnar barnens språkutveckling samt att barnen bygger en grund för deras senare läs- och skrivinlärning. Resultatet visar även att litteraturen finns tillgänglig för alla barn på förskolan oavsett ålder och att alla förskollärare på något sätt arbetar kring litteraturen tillsammans med barnen i de olika åldrarna. / The aim of this study is to gain more knowledge about the preschool teachers own descriptions of how and why they are working with reading aloud and storytelling and if it is different depending on the age groups in the preschool. The study's methodology is qualitative and consists of four semi-structured interviews of preschool teachers at two different preschools. The result shows that the preschool teachers converses with the younger children, talking and asking questions about the pictures in the literature and lets them retell what was read for them with the help of for example story bags and with the older children also converses about the text in the literature. Reading aloud is something that all preschool teachers do for children in all ages and it occurs primarily spontaneously throughout the day. The preschool teachers say that they use reading aloud, storytelling and conversation because they believe it promotes children's language development and build a foundation for their future learning of reading and writing. The results also show that the literature is available to all children in the preschool regardless of age and that all preschool teachers, in some way, are working with literature together with the children in the different ages.

<p>My essay is about the latter period of Anne Charlotte Leffler’s authorship. In Part I of my essay, I describe her path from the 1880s, where she described femininity as a shortcoming, as writes Ingeborg Nordin-Hennel, towards the 1890s and towards describing femininity as a possibility. This development took place on two levels – on an outer level, where all the woman writers in the late 1880s were influenced and where they were pushed out by the male writers, and on an inner level with Leffler herself.</p><p>Her late literary works depict new and more independent types of women, and eroticism is given a more prominent position. In Part II, I study Tre komedier (Three Comedies) which was published in 1891 and which includes the plays Den kärleken (Love is Strange), Familjelycka (Family Happiness), and Moster Malvina (Aunt Malvina). In my opinion, they are early expressions of the New Woman fiction. For my analysis, I use the criteria of genre for the New Woman fiction that is defined by Ebba Witt-Brattström. New Woman fiction is a lost link between the literature of social protest of the 1880s and female modernism. That characterizes, among other things, a new type of woman, who is intellectually and sexually aware. The plot is often contradictory and open-ended which allows scope for interpretation. The protagonist usually has a girlfriend or another woman, whom she can use as a mirror, and there is a new women’s “sistership” emerging, and the urban setting is yet another characteristic. The protagonist often stays at a boarding house or is out on a journey. The new male character is a weakling as opposed to the bourgeois masculinity. These features are distinct in Tre komedier. However, I have discovered a few more criteria.</p><p>I also discuss how Leffler, in the comedic form, delivers a pronounced criticism of society. In Tre komedier, the bourgeois matrimony, the bourgeois family, and the treatment of unmarried women are focused upon and criticized. The three plays differ very much from one another in the dramatic forms. Lynn R Wilkinson considers that they are among the first modernistic comedies, and they point forward to authors such as Wilde, Shaw, and Chekhov.</p>

My essay is about the latter period of Anne Charlotte Leffler’s authorship. In Part I of my essay, I describe her path from the 1880s, where she described femininity as a shortcoming, as writes Ingeborg Nordin-Hennel, towards the 1890s and towards describing femininity as a possibility. This development took place on two levels – on an outer level, where all the woman writers in the late 1880s were influenced and where they were pushed out by the male writers, and on an inner level with Leffler herself. Her late literary works depict new and more independent types of women, and eroticism is given a more prominent position. In Part II, I study Tre komedier (Three Comedies) which was published in 1891 and which includes the plays Den kärleken (Love is Strange), Familjelycka (Family Happiness), and Moster Malvina (Aunt Malvina). In my opinion, they are early expressions of the New Woman fiction. For my analysis, I use the criteria of genre for the New Woman fiction that is defined by Ebba Witt-Brattström. New Woman fiction is a lost link between the literature of social protest of the 1880s and female modernism. That characterizes, among other things, a new type of woman, who is intellectually and sexually aware. The plot is often contradictory and open-ended which allows scope for interpretation. The protagonist usually has a girlfriend or another woman, whom she can use as a mirror, and there is a new women’s “sistership” emerging, and the urban setting is yet another characteristic. The protagonist often stays at a boarding house or is out on a journey. The new male character is a weakling as opposed to the bourgeois masculinity. These features are distinct in Tre komedier. However, I have discovered a few more criteria. I also discuss how Leffler, in the comedic form, delivers a pronounced criticism of society. In Tre komedier, the bourgeois matrimony, the bourgeois family, and the treatment of unmarried women are focused upon and criticized. The three plays differ very much from one another in the dramatic forms. Lynn R Wilkinson considers that they are among the first modernistic comedies, and they point forward to authors such as Wilde, Shaw, and Chekhov.

After a general historical outline of the term and concept 'grotesque' attention is focused on the grotesque in Southern fiction and an attempt is made to explain the abundance of this mode in the literature of the South. It can seemingly be linked to the distinctiveness of that region as compared to the rest of the United States—a distinctiveness that has been brought about by historical, geographical, sociological and economic factors.Basing the discussion on the theory of Philip Thomson, who defines the grotesque as "the unresolved clash between incompatibles in work and response," various critical approaches to the Southern grotesque are examined, all of which are found to be too all-embracing. An effort is then made to analyse the grotesque as displayed particularly in Caldwell, Capote, Faulkner, Goyen, McCullers, O'Connor and Welty. The study deals first with the macabre-grotesque, then the repulsive/frighten-ing-grotesque and finally the comic-grotesque. The last chapter is devoted to more recent authors writing in the 1960s. Their works reveal that the South is still a breeding ground for the grotesque. / digitalisering@umu