In this essay, I examine the intertextuality of Lydia Sandgren's debut novel Collected Works (2020). Throughout the novel, references to other literary works is constantly made, such as books by Ernest Hemingway, Ulf Lundell, Jack Kerouac, Klas Östergren, Simone de Beauvoir and Sigmund Freud. The question I work with is as follows: What are the functions of the intertexts in Collected Works? Who is the narrator who places the intertexts, and how does he or she evaluate this literature?     As far as the theory is concerned, I start with Gérard Genette's book Palimpsestes, in which he divides the concept of intertextuality into five subcategories. The ones I use in this essay are intertextuality (which includes quotations, allusions and plagiarism) and hypertextuality (which has to do with the relationship between the new text and the original text). Harold Bloom's way of looking at intertextuality, that there is some kind of power struggle between the poet and its predecessors, is found in the main character in Collected Works. Bloom's concepts of clinamen (the successor tries to twist the previous work to where it should have been) and apophrades (the successor takes the position of his predecessor) are clearly visible in the main character Martin Berg. / I den här uppsatsen kartlägger jag intertextualiteten i Lydia Sandgrens debutroman Samlade verk (2020). Genom romanens gång refereras det ideligen till andra litterära verk som bland annat böcker av Ernest Hemingway, Ulf Lundell, Jack Kerouac, Klas Östergren, Simone de Beauvoir och Sigmund Freud. Den frågeställning jag arbetar utifrån lyder som följande: Vilka funktioner har intertexterna i Samlade verk? Vem är berättaren som placerar in intertexterna, och hur värderar vederbörande denna litteratur?    Vad teorin anbelangar utgår jag från Gérard Genettes bok Palimpsestes, i vilken han delar upp intertextualitetsbegreppet i fem underkategorier. De jag använder mig av i den här uppsatsen är intertextualitet (som innefattar citat, allusioner och plagiat) och hypertextualitet (som har att göra med relationen mellan den nya texten och ursprungstexten). Harold Blooms sätt att se på intertextualitet, att det råder något slags maktkamp mellan poeten och dess föregångare, anträffas hos huvudkaraktären i Samlade verk. Blooms begrepp clinamen (efterträdaren försöker vrida det föregående verket dit det borde ha kommit) och apophrades (efterträdaren intar sin föregångares position) är helt klart synliga i huvudkaraktären Martin Berg.

Studiens syfte är att undersöka hur Jacques Werup förhåller sig till platsen i diktsamlingarna 48 dikter från Österlen och Septemberljus. Undersökningen utgår från Werups tydliga förankring i den skånska poesitraditionen, där Lawrence Buells ekokritiska platsbegrepp utgör ett ledsagande perspektiv för analysen. Werup gör upp med en skånska pastoral tradition genom att belysa senmodernitetens följder i sin poesi, vilket leder honom mot en poesi där samhällets mobila karaktär kommer till uttryck på ett mer autentiskt sätt. Genom sin icke-idylliserande poesi försöker Werup gestalta en upplevelse av platsen som svarar mot vårt senmoderna samhälle. / The aim of the study is to investigate how Jacques Werup relates to place in the poetry collections 48 dikter från Österlen and Septemberljus. The investigation is based on Werup's clear connection with the Scanian poetry tradition, where Lawrence Buell's ecocritic concept of place leads the analysis. Werup makes up with a Scanian pastoral tradition by highlighting the consequences of late modernity in his poetry, which leads him towards a poetry where the mobile nature of society is expressed in a more authentic manner. Through this non-idyllic poetry Werup tries to portray an experience of place in line with our late modern society.

Modernitet och intermedialitet is the first major study of the Swedish modernist writer Erik Asklund (1908-1980) and his works. The thesis consists of an introductory chapter and three close readings of Asklund’s early novels Kvinnan är stor (The Woman is Great, 1931), Lilla land (A Small Country, 1933), and Fanfar med fem trumpeter (A Fanfare with Five Trumpets, 1934). In these novels, Asklund depicts modernity in Sweden in the 1930’s. Exploring the modernity of the 1930’s in Asklund’s novels, especially the contemporary media situation turns out to be one of the most important aspects. Asklund wrote stories about film, music and various forms of visual culture, (photography, for instance). These different forms of art and media play an important role for Asklund’s writings, not only thematically, but also narationally. In my analyses, I put forward different theoretical aspects of intermediality. In this context, the ideas of Werner Wolf have been especially useful to my examinations of the intermedial aspects in Asklund’s works. In the novel Kvinnan är stor, Asklund tells the story about the young woman Lydia, who moves from the countryside to the big city of Stockholm. She then learns to decode the modern urban society, and becomes a modern woman. In Kvinnan är stor, intermediality is expressed mainly through various connections to film and photography. The modernization of Sweden in the early 20th century was much a question of the countryside becoming modern. In Lilla land, Asklund depicts this process. The novel is one of the first works ever focusing the forming of the Swedish welfare state project. The story is told in a cinematic or filmical way. The third novel to be analysed in the thesis is Fanfar med fem trumpeter. This is one of the first Swedish jazz novels. Asklund tells the story about five young unemployed men in Stockholm who form a jazz orchestra, and make a career. The novels characters experience everyday life as “medialized”; they compare reality with music, film, and photography. These novels, as well as all Asklund’s writings from the 1930’s, are important contributions to the “story about Sweden becoming a modern country”. This “story” consists of the novels, short stories and poems written in the early decades of the 20th century in Sweden.