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In recent decades there have been many attempts to pull Austen into the fold of high Romantic literature. On one level, these thematic comparisons are useful, for Austen has long been anachronistically treated as separate from the Romantic tradition. In the past, her writings have essentially straddled Romantic classification, labeled either as hangers-on in the satiric eighteenth-century literary tradition or as early artifacts of a kind of proto-Victorianism. To a large extent, scholars have described Austen as a writer departing from, rather than embracing, the literary trends of the Romantic era. Yet, while recent publications depicting a “Romantic Austen” yield impressive insights into the timeliness of her fiction, they haven't fully addressed Austen's participation in some of the most crucial literary debates of her time. Thus, it is my intention in this essay to extend the discussion of Austen as a Romantic to her participation in Romantic-era debates over emergent literary categories of authorship and realism. I argue that we can best contextualize Austen by examining how her model of authorship differs from those that surfaced in literary conversations of the time, particularly those relating to the high Romantic myth of the solitary genius. Likewise, as questions of solitary authorship often overlap with discussions of realism and romance in literature, it is important to reexamine how Austen responds to these categories, particularly in the context of a strictly Romantic engagement with these terms. I find that, though Austen's writing has long been implicated in the emergence of realism in literature, little has been written to link this impulse to the earlier emergence of Romantic-era categories of authorship and literary creativity. I contend that Austen's self-projection (as both an author and realist) engages with Romantic-era literary debates over these categories; likewise, I argue that her response to these emergent concerns is more complex and nuanced than has heretofore been accounted for in literary scholarship.

The Artists’ model in Sweden is a relatively unexplored topic. This study applies a discourse analytical approach to the figure of the artists’ model, based in Foucaultian thought, in order to investigate the discourse surrounding the model in Sweden during the period 1880 – 1899. The study poses the following questions: How does the artists' model appear and what themes can be identified in selected text from Swedish newspapers? How does the model appear in selected visual works and how does that relate to the model in popular culture? How does the model appear in material from the Academy of fine arts, how does this relate to the model in popular culture and what conclusions can be drawn concerning their life and working conditions? What discursive tendencies surrounding the model can be identified and how does conceptions of class, gender and ethnicity impact the model in the discourse? The investigated material is serialised novels and short stories in newspapers, visual depictions of models in art and their reception, as well as archival material from the Royal Swedish Academy of Fine Arts. Additional methods being used is close reading and thematic analysis.  The study concludes that the model in Sweden belongs to a wider international discourse, stereotypes of models in English, German and French context appears in Sweden, due to the international nature of both the art and publishing worlds. Models are defined by contemporary conceptions of ethnicity, gender, and age. A clear discursive tendency constructs the model as female and the artist as male. The relationship between them is often presented as romantic or sexual in nature. An opposing tendency, often presented by writers involved in the art world, constructs the artist as distant and disinterested, with an aesthetic gaze, and the model as objectified non-woman, their relationship that of working professionals. The study also argues that no particular concept of the Swedish model existed, models were more frequently conceived of as Italian or Parisian in Swedish discourse.

Au moment de déposer ce mémoire, la base de données créée par les fans, pour les fans nommée The Visual Novel Database (https://vndb.org/) liste plus de 37 000 visual novels. Ce corpus non- négligeable demeure peu abordé dans la recherche vidéoludique, particulièrement dans une perspective englobant les différents sous-genres qui lui sont associé, telles que « simulateur de drague » (dating simulator), jeu bishoujo ou jeu otome. Ce mémoire se penche sur des éléments culturels et de jouabilité récurrents dans ces sous-catégories à l’aide des études des genres (gender studies), des études queer, des études otaku et des études narratologiques. Il propose un cadre conceptuel afin d’articuler l’expérience particulière qu’offrent les visual novels, l’employant ensuite pour les analyses des jeux Psychedelica of the Black Butterfly (STING & Otomate, 2015), Hustle Cat (Date Nighto, 2016) et Gnosia (Petit Depotto, 2021). / At the time of handing in this thesis, the database created by fans, for fans called The Visual Novel Database (https://vndb.org/) lists over 37,000 visual novels. This significant corpus remains barely addressed in videogame research, particularly from the perspective of the various sub-genres associated with it, such as dating simulator, bishoujo game and otome game. This dissertation examines recurring cultural and gameplay elements in these subcategories using gender studies, queer studies, otaku studies and narratological studies. It proposes a conceptual framework to articulate the distinct experience that visual novels offer, before employing it to analyze the games Psychedelica of the Black Butterfly (STING & Otomate, 2015), Hustle Cat (Date Nighto, 2016) and Gnosia (Petit Depotto, 2021).

Denna uppsats har analyserat gestaltningen av det feminina som skräckinjagande i de två gotik- och skräckromanerna Bunny (2020) av Mona Awad och Cackle (2022) av Rachel Harrison. Den metod som har använts har varit en textnära läsning av novellerna och den teori som analysen har utgått ifrån har huvudsakligen varit Maria Margareta Österholms avhandling Ett flicklaboratorium i valda bitar – Skeva flickor i svenskspråkigprosa från 1980 till 2005 (2012) som behandlar Mary Russos begrepp gurlesken och dess olika former, Sandra M. Gilbert och Susan Gubars teori om den internaliserade manliga blicken i deras bok The madwoman in the attic, The woman writer and the nineteenth-century literary imagination (1979), och Yvonne Lefflers teori om skräckberättelsens förmåga att väcka känslor hos läsaren i hennes bok Horror As Pleasure (2000). Syftet var att undersöka hur romanerna förhåller sig till sammanflätningen av det skräckinjagande och det feminina. Analysen har visat att den internaliserade och objektifierande blicken på kvinnorna är en viktig del i hur de skräckinjagande elementen framställs både groteska och hotfulla – särskilt vid framställningen av det feminina och kvinnomonster. Jag behandlar i den avslutande diskussionen hur det feminint monstruösa i dessa två romaner har förskjutits till ett mittemellanförskap som förhåller sig till förmågan hos publiken att konceptualisera situationerna. / This thesis aims to analyze the figuration of the feminine as something horrifying in the two horror novels Bunny (2020) by Mona Awad and Cackle (2022) by Rachel Harrison. The method is a close reading of the novels and the main theory is based on Maria Margareta Österholms dissertation Ett flicklaboratorium i valda bitar – Skeva flickor i svenskspråkigprosa från 1980 till 2005 (2012), in which she investigates Mary Russo's concept of the gurlesque, Sandra M. Gilbert and Susan Gubar’s theory about the internalized male gaze from their book The madwoman in the attic, The woman writer and the nineteenth-century literary imagination (1979), and Yvonne Leffler’s study Horror As Pleasure (2000), about the aesthetic premises of the horror story and its ability to transform unpleasant feelings into pleasurable horror and aesthetic enjoyment. My thesis aims to investigate how the relationship between the horrifying and the feminine is intertwined in the novels. The analysis has shown that the internalized and objectifying gaze has an important part in the grotesque and threatening aesthetics of the horror story – especially in the depiction of the feminine and female monsters. I argue that the feminine monstrous in these two novels has made a shift into an” in-between-relationship” which behaves differently depending on the audience's ability to conceptualize the situations that arise in the novels.

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