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<p>Denna rapport handlar om pojkars och flickors intresse av skönlitteratur samt om det finns några kopplingar mellan utvecklingspsykologin och barns läsvanor. I litteraturgenomgången tar jag upp barns utveckling 7-15 år och barns läsvanor 10-12 år. I min resultatdel presenterar jag vad jag fått fram av min enkätundersökning som jag gjort i tre klasser i år 4, 5 och 6, sammanlagt 68 elever. Jag har frågat eleverna angående deras fritidsläsning. Vilken skönlitteratur läser eleverna? Hur ofta läser eleverna? Hur mycket läser elverna? När läser eleverna? samt Varför läser eleverna? Jag kom bl.a. fram till att eleverna gärna väljer äventyrsböcker, mysterieböcker och roliga böcker att läsa på sin fritid. Elverna läser för att det är roligt och för att det är viktigt att träna sin läsning. De flesta läser varje dag och vanligtvis innan de går och lägger sig. Jag har också fått fram i mitt resultat vad som skiljer pojkar och flickor åt vad beträffar deras fritidsläsning. Det som skiljer sig är att flickor läser fler böcker än pojkar. Pojkar läser gärna sportböcker medan flickor tycker om att läsa djurberättelser. Pojkar läser mer för spännings skull än vad flickorna gör. Flickor läser gärna när de kommer hem efter skolan, medan pojkar tycker om att läsa på morgonen.</p>

Diss. Stockholm : Stockholm universitet, 2005. / Pp. 213-227: Bibliography.

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This paper aims to analyze the 19th century novel Money (Original title: ”Pengar”, 1885) by Victoria Benedictsson (1850–1888) and its possible correlation to the contemporary decadence movement. The decadence movement was most prominent at the end of the 19th century, and can be understood as a reactionary movement to modernity in which growing secularization, industrialization, and urbanization create feelings of displacement, moral decay, and anxiety, all of which shows in the literature belonging to this genre. The method used for this paper is a comparative analysis of decadent themes and motifs used in the novel. As a reference point I use a number of literature scientific and idea-historical works made on decadence, as well as on the authorship of Benedictsson. The analysis is divided into seven sections. The first section discusses one of the novel’s more prominent themes: the will and ability to act. The second part deals with themes of illness and flower metaphors. The third section looks at signs of secularization and religious themes. The fourth discusses disillusionment of previously romanticized ideas and the upheaval of values. The fifth examines feelings of anxiety and pessimism. The sixth section focuses on gender roles and fear of the sexual. The seventh section examines how the view on money changes throughout the novel. The paper ends in a summarized discussion of the analysis. The results I have gathered in this paper show that the novel contains a number of common themes of decadence, but also that these almost always are paired with a moral argument that advocates for societal change. The main source for the decadence experienced in the novel is the marriage and its inequality. Because of the marriage, the protagonist sees herself having turned into a ”fallen” woman and experiences strong feelings of anxiety and pessimism. Due to this, the novel can be seen to contain a characteristic decadent fall in which the main character is experiencing their own and their surrounding society’s decline. The novel portrays two different views on decadence, one argued by the main character and one by the surrounding society. By having the protagonist experiencing and arguing for another decadence than her surrounding environment, Benedictsson is able to criticize her contemporary society for their hypocrisy and faults concerning traditional marriage and gender roles. The novel also criticizes the expanding capitalism, which is seen to objectify the female body into a commodity that is sold through the guise of traditional marriage. The novel is also seen to be influenced by the increasing secularization and criticizes christianity for defending said marriage.

Paul Austers New York Trilogy has long been considered a classic postmodern detective tale. But isn’t there more to the story? In this study I investigate how masculinity and fatherhood is portrayed in the first and the third novel of the trilogy, City of Glass and The Locked Room. Using a theoretical framework including R.W. Connells term hegemonic masculinity, Helena Wahlströms the new father and post-nuclear masculinity, and lived embodiment, as explained by J. Björklund et. al., I discuss how the male characters in the novels struggle with their gender identity and their role as fathers. The results of the study show that the men, portrayed in a time of change and uncertainty about gender roles – New York City during the 1980s – continuously act in relation to the hegemonic masculinity and patriarchal systems, whilst also exploring behaviors and characteristics outside the norm.

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