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11	Myth and respectability in Swedish and Dutch fascism, 1931-40 Kunkeler, Nathaniël David Benjamin January 2019 (has links) The focus of this thesis is on the process of myth-making (mythopoeia) in the Dutch National Socialist Movement (NSB) and the Swedish National Socialist Workers' Party (NSAP), using a cultural pragmatic approach to analyse the practicalities and implementation of mythopoeia comparatively. A variety of fascist performances, scripted and unscripted, are considered as having mythopoeic potential, and understood as performative in character, i.e. constituting the thing they claimed to represent. Multiple parts of this mythopoeic process are analysed: the resources, organisation, and technologies required to implement it, and the nature of the process, the events, performances, in other words the actual implementation, and reception by audiences. Secondly, it uses respectability as a means of seeing how in a national context this process was limited, inhibited, or otherwise defined by the standards of the public and media, to which fascists ultimately tried to appeal, thus providing an external perspective on fascist activities to contextualise them. The thesis is divided into four chapters, which deal with the party apparatus, leader myth, political uniforms, and the role of aesthetics and spectacle respectively. Together these chapters explore the relationship between mythopoeia and respectability as refracted through party organisation and administration, as embodied by the 'charismatic' fascist Leader, in the day-to-day behaviour and appearance of the rank-and-file, and ultimately the holistic experience of fascist aesthetics, i.e. the fully scripted and organised spectacles of party congresses. Ultimately it is shown that the fascist movements of Sweden and the Netherlands were highly innovative organisations. Mythopoeia had a powerful mobilising capacity, which could make up for the diminutive financial power and low membership figures of fascist parties. Finally it appears that the relationship between myth and respectability was not a straightforward dialectical one, but multivalent, and highly dynamic.
12	Svenskhet på Flashback forum? : Idealtypsanalys om Svenskhet utifrån fyra implicita kulturdefinitioner om svenskhet/svensk kultur på Flashback forum Brandhill, Torbjörn S. January 2015 (has links) Swedes and Swedish Culture are controversial political subjects in Sweden. The definitions for Swedish culture are very vague and what is the answer to the question: Who can be called Swedes? It has been debated in Sweden more since Swedish Democrats crossed the four percent threshold necessary for representation in the Swedish parliament. Swedes or Swedish culture on a large internet forum with 2 million visitors per week called Flashback forum is material for this thesis. Flashback forum has currently more than 50 million posts published and has more than 970 000 users. Flashback forum is more and more often mentioned in Swedish media. This is a new study of Swedes or Swedish culture in an internet context based on specific definitions of culture. The specific definitions of culture are based on Professor emeritus Karl-Olov Arnstberg’s book “Svenskheten – den kulturförnekande kulturen”. The specific definitions of culture are used in a classification of the posts on Flashback forum in an ideal type analysis. Which out of four specific definitions of culture are most notable on Flashback forum and what is significant for that particular definition? The most notable definition of culture on Flashback forum is “mentalt kapital”. “Mentalt kapital” is a definition about social values, political values and communicational skills such as the Swedish language. swedes Swedish culture anonymity ethnicity Flashback forum Flashback anonymitet svenskhet etnicitet svensk kultur Flashback forum Karl-Olov Arnstberg
13	Varan-i-världen : Varan i form och innehåll i En dramatikers dagbok / Being-in-capitalism : The commodity in content and form in Diary of a Playwright Stark Theander, Ellen January 2022 (has links) This thesis explores the commodity as a motif in the first volume of Lars Norén’s Diary of a Playwright, as well as how this motif relates to reification and alienation, and in addition is reflected in the work formally. The study is oriented both towards the text’s depiction of the commodity and its reflections on its own depiction. These descriptions are read in light of Marxist theory and through comparisons with Walter Benjamin’s Passagenwerk, where the latter work also forms a connection to Martin Heidegger and Simone Weil in their capacity of important influences for Norén. Much like in the Passagenwek, the commodity acts as a secret structure in Diary of a Playwright. It organises the text and its seemingly disparate elements on a deeper level. The study contributes to a new understanding of one the greatest Swedish writers in the 20th and 21st centuries. Although the diary has not been the subject of much research, the predominant understanding of the work is, as with Norén’s other writings, largely characterised by a psychoanalytic perspective. Lars Norén Norén En dramatikers dagbok varor varan förtingligande förfrämligande reifikation alienation marxism fenomenologi Frankfurtskolan Walter Benjamin Passagearbetet Passagenwerk Lukács Historia och klassmedvetande Karl Marx Fredric Jameson Guy Debord Simone Weil Martin Heidegger Ulf Olsson Anders Olsson Jesper Olsson Peter Henning Cecilia Sjöholm Mikael van Reis Lars Nylander Birgitta Trotzig Patrik Mehrens Yvonne Blomberg Jan Olov Ullén Göran Sommardal Jakob Staberg Björn Apelkvist Erik Beckman Susan Buck-Morss avskapelse schizofreni varans dialektik marxistisk formalism skådespelssamhället varuformen fetisch fantasmagori General Literature Studies Litteraturvetenskap Humanities and the Arts Humaniora och konst Languages and Literature Språk och litteratur

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