Syftet med den här uppsatsen är att studera brott och straff i Martin Widmarks och Helena Willis’ barndeckarserie om LasseMajas detektivbyrå för att undersöka vilka normer gällande kriminalitet och vilka didaktiska samt moraliska värderingar som verken kan sägas förmedla. För att tydliggöra seriens relation dels till deckargenren överlag, dels till den verklighet i vilken böckerna skrivs och läses görs jämförelser också med kriminaliteten i deckare för vuxna och med verklig brottsstatistik.

This project revolves around the political part poetry that is printed in newspapers can have. It focuses on a Swedish tradition directly translated into “daily verses” where an author writes a political poem every day in a newspaper. How do a political agenda take shape in a poem written in a short period of time and published in a forum like a newspaper? With the use of an analysis and comparison of two separated authors with different opinions in three specific political areas these questions is answered. The authors are Lotta Olsson Anderberg and Caj Lundgren and the political areas studied are gender equality, international political relations and nationalism. The project finds three specific answers to the question. First with the help of tools like metaphors, quotes, rewritten source material and hinting of well known references the political poetry addresses the reader in a direct way. Second these poems use the rhetorical strategy of focusing on the absurd in the opposition rather than arguing for the own political standpoint, turning the tables in an ironic way. The third answer is also the help of a tradition within itself that helps the readers understand the politics. A subgenre understood with help of the forum and the fact that the reader knows the poem will be political just by the headline “daily verses”. This shows that the poetic form called “daily verses” is to be regarded as political poetry.

This study aims to look at the public reception of the literary form called feelbad. The empirical material is a selection of digital and printed documents and the method used is qualitative content analysis. Feelbad is a literary form which does not have a clear definition but is however used by both regular and professional readers. This study examines how regular and professional readers describe and value feelbad in terms of emotional reactions. This purpose is achieved by using theorist Rita Felski’s (2008) four modes of textual engagements (shock, enchantment, knowledge and recognition) and three different categories of literary value (emotional, style/form and knowledge) presented by Forslid et al. (2015). Literature often has an undisputed goodness assigned to it by society. Which is why it might be considered important to look at how readers are emotionally affected by the dark or depressing narrative of feelbad and how they value this literature. The result indicates that readers were altogether positive in their reception and often expressed physical reactions evoked by feelbad, whether if the reading experience was considered pleasurable or emotionally difficult. Readers often described feelbad as a form of literature that emotionally affect them either by depictions of suffering or abuse or by the beautiful written language. This is important knowledge to the library work since it shows how readers use literature and can be an important insight to how the librarians can develop their work with readers’ advisory or library shelving.

Många har åsikter kring AI och litteratur men vad är det som faktiskt händer i en litterär skapandeprocess där AI-verktyg används? Detta är en uppsats som undersöker de barnlitterära AI-sagorna i podcasten ”Magiska godnattsagor”. Syftet är att beskriva och förstå AI-sagorna som fenomen och hur historien i Den magiska pinnen formas från idé till färdig saga genom det kollektiva skapandet mellan barns idéer, AI som genererar texten och redigeringen av podcastens vuxna producenter. Uppsatsen behandlar följande tre frågeställningar: 1. Vilka kreativa inslag bidrar de medskapande barnen, AI-verktygen och de vuxna producenterna med i formandet av Den magiska pinnen från idé till färdig saga? 2. Hur förhåller sig historien i versionerna av Den magiska pinnen till konventionella drag för barnlitteratur och sagan som litterär genre? 3. På vilket sätt kan författarfunktionen i ”Magiska godnattsagor” beskrivas och förstås och det skifte som sker i den traditionella relationen mellan producent och konsument av medier? Uppsatsen använder analytiska verktyg hämtade från litteratursociologi, narratologi och adaptation. Undersökningen visar att de medskapande barnen bidrar med utgångspunkten för sagans intrig samt inslag av magi och spänning. AI bidrar med en utveckling av intrigen, en humoristisk aspekt och ett moraliskt handlingsförlopp som visar på pedagogiska undertoner i texten. Producenterna bidrar med humoristiska inslag, valet av sagan som litterär genre och att karaktärerna i sagan namnges efter de medskapande barnen. De olika versionerna av Den magiska pinnen relaterar till konventionella drag för barnlitteraturen och sagan som litterär genre. Exempel på detta är uppdelningen i dikotomier, den progressiva intrigen och det lyckliga slutet. Författarfunktionen i ”Magiska godnattsagor” kan betraktas både som en kollektiv process och en individuell process. Barnens medskapande roll i skapandet av Den magiska pinnen innebär att den traditionella relationen mellan producent och konsument av medier och den traditionellt ojämna relationen mellan avsändare och mottagare i barnlitteraturen utmanas till viss del. AI kan beskrivas som kreativa verktyg som kräver samarbete med människor för att generera en komplett historia.

In this thesis I investigate central features in Instagram poetry based on the hypothesis that it is a new form of literary phenomenon. The study analyses six accounts on Instagram, all dedicated to Instagram poetry, as well as a selection of feature articles about Instagram poetry and interviews with the poets. Through this investigation, four aspects where considered: the themes of the poetry, the variety of roles Instagram poets play in relation to their poetry and their readers, how representation plays a part in some of these roles, as well as how the poetry takes place on the platform. The form and display of the poetry are examined further through an intermedial analysis of the relation between text, image, and the Instagram medium.  This thesis argues that the themes of Instagram poetry are correlated with an assumption that the poet is honest and credible.Instagram poets play a crucial part in making the readers view their poetry as honest and credible, and they establish different roles to create and uphold that image. Through the intermedial analysis it has become clear that Instagram poets work with other aspects beside text, which is a quality of the poetry that has not been noticed in previous discussions and in dominant ideas of Instagram poetry. In conclusion, the thesis argues that Instagram poetry also shares traits with popular fiction and romance, in the poets’ aspiration to first of all connect with the readers and provide friendship, self-help, and comfort, through the poetry and the Instagram account.

This thesis investigates the reception of middle literature novels among critics in Swedish newspapers and at Swedish libraries. Works by three authors were chosen as representatives for middle literature: Helen Fielding, Nick Hornby and Tony Parsons. The investigation is based on interviews with librarians at the Gothenburg City Library, the total purchased number of books at public libraries in Sweden and analysis of Swedish newspaper reviews. The result is compared with theories by literary sociologists as Jofrid Karner Smidt, Janice Radway, Erland Munch-Petersen and Staffan Bergsten among others. It was found out that literary scientists and critics had a different way of looking at middle literature. Scientists regarded it as something positive and strengthening for female readers. Literary critics, on the other hand, looked upon middle literature as depraved and retrogressive. The very word middle literature first appears in Swedish newspapers in 1997 and it has been given several names. Middle literature novels were found to have some characteristic features: humour, identification, journalistic language and an urban environment. These novels were entertaining, well written, realistic and gave a picture of the present generation. The librarians had difficulties characterizing middle literature novels and to determine whether it was light literature or not. The reviews of the novels differed. Some were positive, some were negative but no one was unconcerned. Critics were more positive to middle literature than the librarians at the City Library in Gothenburg were. What made the literature so popular turned out to be facts that were its characteristics. Even if the librarians had a tendency to recommend other better novels, they thought it was better reading light novels than not reading at all. For them, middle literature fulfilled its purpose better in English, their original language, as an educational tool. They decided to buy this literature mainly for that purpose from that on. The chosen novels were all purchased in high numbers by Swedish libraries, in English as well as translated into Swedish. They regarded requests of books by the patrons but checked out reviews very carefully. The request for quality was high and was even more important. / Uppsatsnivå: D

The aim of this thesis is to study the market for fantastic fiction in Sweden, focusing on the minor publishers and their relationship with the three major publishing groups. The fantastic fiction in Swedish today are generally dominated by bestselling anglo-american authors, especially at the major publishers. The selection of fantastic fiction that is not originally in English and that diverges from the classic, epic high fantasy is often provided by minor publishers. By researching the range of fantastic fiction in Sweden today, and combining that research with qualitative interviews with informants from five minor publishers and Sweden's largest book shop for fantastic fiction, I wish to examine if the minor publishers provide an important alternative for Swedish readers of fantastic fiction. I also intend to investigate whether those publishers actively try to broaden the Swedish market and if they see themselves as a complement and an alternative rather than competing with the major publishers. This is a study in sociology of literature, focusing on a literary genre that is generally regarded as popular or trivial literature. Therefore, this thesis also discusses the curcuit of popular literature and the position and conditions of fantastic fiction in Sweden today, using the french sociologist Pierre Bourdieu's frameworks and terminology regarding economical and cultural capital. Fantastic fiction is a genre normally associated with economical rather than cultural capital, a notion that greatly affects its position and status in the world of literature.

This essay focuses on the reception of Yahya Hassan’s debut YAHYA HASSAN in Swedish media, mainly daily newspapers. Following the work of Magnus Nilsson it analyzes the “reading strategy of the politics of identity” in “immigrant literature” and outlines structural racism in the literary scene. By bringing attention to the critics’ use of this reading strategy, it is possible to unveil the “ethnic filter” through which literature by Swedish authors with a “non-Swedish identity” is being read in contemporary Swedish literary criticism. The concept of “immigrant literature” is discussed as a discourse, rather than as an empirical category. This essay aims to show how the Swedish critics read YAHYA HASSAN through the ethnic filter as a work of “immigrant literature”. The Swedish critics read the collection of poems as a political statement, and had difficulties defining Hassans work as poetry. Rather, it was read as an autobiographical novel in a working class tradition. There had been a long discussion in Swedish literary criticism about the autofictional genre, including a moral debate about the line between fact and fiction in autobiographical works. However, this was left almost unmentioned and Hassans poems were read as true and authentic depictions, something that the author himself contributed to in various ways. The essay also outlines the debate in Swedish media where critics discussed the author’s responsibility as an immigrant, a debate where many critics articulated a fear that the experiences depicted in Hassan’s poems could further inspire an already growing racist movement.

Uppsatsen analyserar tre kinesiska science fiction-böcker: Hao Jingfangs Peking-den hopfällbara staden (2012), Chen Qiufans Waste Tide (2013) och Liu Cixins The Three-Body Problem (2008). Syftet med studien är att undersöka vilken typ av samhällskritik som finns i verken. Uppsatsen syfte har besvarats genom att tolka verken utifrån en litteratursociologisk textanalys i kombination med begrepp från klassteori och narratologi. Resultatet visar attPeking-den hopfällbara staden och Waste Tide ger uttryck för kritik mot social ojämlikhet irelation till klassamhället. I Waste Tide finns även kritik mot miljöförstöring i relation till teknologisk framväxt. I The Three-Body Problem finns det en humanistisk kritik mot hur människor fick lida under kulturrevolutionen i Kina.

Författare beskrivs ofta som ensamma skapare till sina verk. I många fall finns det dock betydligt fler som medverkar i produktionen av ett litterärt verk, däribland förlaget. I fallet med svenska författarna Harry Martinson och Moa Martinson är det sen tidigare vederlagt att de båda hade ett utbyte med sina förläggare på Albert Bonniers förlag och att de på olika vis fick råd och ändringsförslag gällande sina texter av sina förläggare Karl Otto Bonnier, Tor Bonnier och Kaj Bonnier. Uppsatsen undersöker på vilka vis förläggarna fungerar som medskapare genom att undersöka kommunikationen i brev mellan författarna och förläggarna gällande författarnas olika manuskript under perioden 1928–1939. Uppsatsen utgår från flera frågeställningar och undersöker mönster i förläggarnas kommunikation och deras synpunkter på författarnas manuskript, hur dialogen ser ut mellan de olika parterna samt vilken funktion förläggarna kan sägas ha i produktionen av de litterära verken, allt som allt i syftet att bidra till förståelse för hur relationen mellan de två yrkesgrupperna kan påverka produktionen av ett litterärt verk fram till dess att en originalutgåva publiceras. Av analysen framkommer det att det finns ett flertal mönster i förläggarnas kritik som berör allt från språket, innehållet och formen, manuskripten i relation till den tänkta mottagaren, förlagets angelägenheter samt vänskapliga relationer mellan författare och förläggare. Trots att förläggarna refuserar båda författarna vid ett flertal tillfällen ser relationen mellan dem olika ut och på så vis skiftar även kritiken från förläggarna och författarnas respons. Bland annat Harry Martinson och Tor Bonnier utvecklar en särskild vänskaplig relation, medan Moa Martinson förmodligen anser sig åsidosatt och att hennes författarskap inte tillskrivs lika stor vikt av förlaget. Harry Martinsons får även något mindre omfattande förslag om ändringar från förlaget och med tiden dessutom mer frihet, medan Moa Martinson in i det sista ombes göra omfattande ändringar och även av andra skäl, så som att hon måste göra ändringar för att hennes innehåll inte anses passande. Båda författarna visar tacksamhet för de kommentarer de får av förläggarna på sina manuskript men är till en början inte alltid villiga att göra ändringar, även om de i slutändan väljer att göra som förläggarna önskar för att på så vis kunna publicera sina verk. Uppsatsen konstaterar att förläggarna framför allt kan ses som medskapare i den litterära produktionen på så vis att de med sina kommentarer är med och formar författarnas åsikter om hur god litteratur ska skrivas och på så vis påverkar deras skapande i det långa loppet. / Authors are often described as lone creators of their work. However, in many cases there are several others included in the production of a literary work, amongst them the publishing house. It is previously known that Swedish authors Harry Martinson and Moa Martinson both had an exchange with their publishers Karl Otto Bonnier, Tor Bonnier and Kaj Bonnier at Albert Bonniers förlag (a leading Swedish publishing house). This thesis examines in what ways the publishers’ acts as “co-creators” of the authors literary works by analysing the communication in letters between the publishers and the authors regarding numerous manuscripts written during 1928–1939. The thesis frames several questions and analyses patterns in the publishers’ letters and their comments of the authors’ writing, the dialogue between the five respective parties and what function the publishers can be said to have in the literary production. The overall purpose of the thesis is to further understand the relationship between the two professions and how that affects the production of a literary work, up until the original publication of the work. The analysis concludes that there are some distinguishable patterns in the publishers’ critique of the authors’ manuscripts regarding language, content and disposition, the recipient, the publish houses’ interests as well as the friendship between the authors and publishers. While the relationship between the authors and publishers changes, so does the publishers comments and the authors response to those comments. Harry Martinson and Tor Bonnier develops a friendship which affects their working relationship, while Moa Martinson presumably feels left out and treated less amicably by Albert Bonnier’s. There is a difference between how the authors are treated by the publishers in that Harry Martinson gets less critique and does not need to make as extensive changes in his writings whilst Moa Martinson on the other hand has to do the opposite. The publishers, especially Karl Otto Bonnier, also demands that Moa Martinson make changes regarding unsuitable topics in her writing. Both authors show gratitude for the publishers’ commentary, though they are at first often unwilling to make the suggested changes. In the end Harry Martinson and Moa Martinson tend to yield to the publishers wishes, possibly in order to get their works published. The thesis concludes that the publishers could be considered “co-creators” of the authors’ literary works mainly by contributing to and shaping the authors’ views on what literature is and how it should be written, thus affecting their writings in the long run.