This essays aim is to investigate the possibilities of subjective interpretation of Lgr11, the Swedish curriculum for elementary school. The assignment that the Swedish authority Skolverket got in 2009, was to create a curriculum that would grant that the students achievements would not be influenced by any subjective opinions and that all elementary schools in Sweden will give an equivalent education. In the Government bill this is a theme throughout the text and the Minister of Education has also claimed that this document will leave very limited space for subjective reading and interpretation. He says that Lgr11, in contrast to the previous curriculim Lpo94, will clarify what the purpose of the different subjects is and on what grounds the assessment of the students should be based. The method used is the literary theories of reader – response as they are expressed by Literarycriticist Stanley Fish. To access a deeper perspective I also apply the ideas of thoughtcollectives as they are formulated by Epistemologist Ludwik Fleck. This essay indicates that there are complex problems in the text and argues that it contains valueladen, abstract words, contradictions and interpretable language. It illustrates problems that this can lead to when different readingcommunities and thoughtcollectives shall come to an agreement about what the text really means and how the students performance will be assessed.

The essay critically examines Stanley Fish’s reader-response reading of Paradise Lost.In particular Fish’s main thesis that John Milton’s sole purpose in Paradise Lost is toeducate the reader on their position as fallen.The essay then examines two key claimsthat Fish employs to arrive at his conclusion, namely: (1) Fish’s notion of intendedreadership and authorial intent for Paradise Lost; and (2) Fish’s claims of readerresponse to Paradise Lost in two selected contexts (i) the reader response to Satan in thebeginning of Paradise Lost (ii) the reader response to an aspect of narration in ParadiseLost i.e. the poem’s epic voice. Based on the analysis of these two key claims the essayfinds Fish’s thesis unsubstantiated and in need of further argument.

In the wake of the guilty verdict of George Floyd’s murderer, police officer Derek Chauvin, there is hope for change in the pattern of police brutality against black people in the United States. The Hate U Give by Angie Thomas was published three years prior to George Floyd’s death, in 2017, and is a realistic fictional novel in the young adult genre that has gained attention for its relevant contribution in the debate of racism and police violence, as the fictional victim Khalil Harris, an unarmed black teenager, does not receive the same justice as George Floyd. In this essay, reader response to The Hate U Give is analysed in order to examine how it affects the opinions and worldview of the reader during and after the read. A close reading and analysis of pivotal scenes was carried out using affective stylistics, in order to interpret what the text does to the reader word-by-word, and subsequently the reader’s creation of meaning was examined and discussed. The reader’s response was then analysed with Stanley Fish’s theoretical framework of interpretive communities, groups with shared social norms and worldviews, which dictate how individuals create meaning in the first place. The analysis suggests that readers of The Hate U Give, while starting out in different, albeit to a certain extent similar, interpretive communities, will gradually align themselves with the interpretive community of Black Lives Matter through shared ideas and opinions and the increased understanding they develop when they read the novel.

Without consciousness we become victim instead of actors- even if it is only a question of acting victims. And in the make belief of our lives, the audience is self (Fugard in Frank 2004: 53). The primary concern of this study is the comparison of video interpretations of Athol Fugard with their adaptations as visual texts. It has been argued that 'the playwright's creative labour ends with the completion of the script' (Kidnie 2009: 15).Therefore, amongst other issues this dissertation will explore the politics of production at play during adaptation from printed version to screenplays. My assumption is that a comparison between the printed texts and video versions will add to the understanding of the effectiveness of Fugard's dramatic techniques and comprehension of literary texts; images are easy to decipher by inexperienced interpreters if guided. For the purpose of my presentation I adapt the reader response theoretical position of Stanley Fish based on a comparison that will be explored in terms of my own response to both the written text and visual texts, and in line with other responsed to the play. / English Studies / M.A.

Without consciousness we become victim instead of actors- even if it is only a question of acting victims. And in the make belief of our lives, the audience is self (Fugard in Frank 2004: 53). The primary concern of this study is the comparison of video interpretations of Athol Fugard with their adaptations as visual texts. It has been argued that 'the playwright's creative labour ends with the completion of the script' (Kidnie 2009: 15).Therefore, amongst other issues this dissertation will explore the politics of production at play during adaptation from printed version to screenplays. My assumption is that a comparison between the printed texts and video versions will add to the understanding of the effectiveness of Fugard's dramatic techniques and comprehension of literary texts; images are easy to decipher by inexperienced interpreters if guided. For the purpose of my presentation I adapt the reader response theoretical position of Stanley Fish based on a comparison that will be explored in terms of my own response to both the written text and visual texts, and in line with other responsed to the play. / English Studies / M.A.

This essay analyses John Green’s The Fault in Our Stars (2012) with a theoretical approach of reader-response theory to show how the potential interpretations of the gaps in the novel make it a relevant choice of literary work for EFL education. The essay also examines whether the concept of gaps can be used as a tool in literary analysis. The concept of gaps stem from Wolfgang Iser’s ideas on the individual reader, which in turn is one of the perspectives, together with Stanley Fish’s interpretative communities, from which the gaps found in The Fault in Our Stars are analysed. The results are connected to a list of criteria, created by applying the criteria of English syllabuses for upper secondary school by the Swedish National Agency for Education to a revised version of Janice Bland’s list of what constitutes a good literary work for the classroom. The result is that The Fault in Our Stars covers difficult and relatable topics and emotions, which enables productive discussions that challenge students’ world views and help develop their interpretative skills. The findings also show that the novel bears literary complexity, with its prevalent use of metaphors and similes, as well as clear intertextuality with typically canonical works. The analysis also shows how the concept of gaps are an effective tool for interpretation in literary analysis. In conclusion, The Fault in Our Stars is a suitable and comprehensive choice of YA literature in the upper secondary school EFL classroom.

This thesis looks at occurrences of "living death" – a liminal state that exists between life and death, and which may be approached from either side – in early modern English drama. Today, reference to the living dead brings to mind zombies and their ilk, creatures which entered the English language and imagination centuries after the time of the great early modern playwrights. Yet, I argue, many post-Reformation writers were imagining states between life and death in ways more complex than existing critical discussions of “ghosts” have tended to perceive. My approach to the subject is broadly historicist, but informed throughout by ideas of stagecraft and performance. In addition to presenting fresh interpretations of well-known plays such as Thomas Middleton’s The Maiden’s Tragedy (1611) and John Webster’s The White Devil (1612), I also endeavour to shed new light on various non-canon works such as the anonymous The Tragedy of Locrine (c.1591), John Marston's Antonio's Revenge (c.1602), and Anthony Munday's mayoral pageants Chruso-thriambos (1611) and Chrysanaleia (1616), works which have received little in the way of serious scholarly attention or, in the case of Antonio's Revenge, been much maligned by critics. These dramatic works depict a whole host of the living dead, including not only ghosts and spirits but also resurrected Lord Mayors, corpses which continue to “perform” after death, and characters who anticipate their deaths or define themselves through last dying speeches. By exploring the significance of these characters, I demonstrate that the concept of living death is vital to our understanding of deeper thematic and symbolic meanings in a wide range of dramatic works.