<p>”Det är så bra att läsa” är ett uttryck som vi alla har hört. Som en formel uttalas dessa ord om skönlitterär läsning. Med den här uppsatsen hoppas jag inspirera till att fler människor engagerar sig i hur skönlitteratur kan användas i utbildningen.</p><p>För de som har tagit ställning till att skönlitteraturen har en viktig roll att spela i skolan, är det intressant att diskutera hur skönlitterära läsare utvecklas. Jag genomförde ett undervisningsförsök i syfte att se om eleverna i en årskurs 8 utvecklas som skönlitterära läsare när de får använda det narratologiska verktyget berättarperspektiv.</p><p>Före respektive efter denna undervisning skrev eleverna ner sina spontana intryck av ett avsnitt ur Janne, min vän av Peter Pohl. Studien baseras på textanalyserna av dessa texter.</p><p>Undersökningen förankras med Kathleen McCormicks och Judith Langers teorier. Utifrån deras receptionsteorier analyserar jag hur eleverna förhåller sig till texten, om detta förhållande förändras efter att de har använt det narratologiska verktyget och vad denna förändring innebär.</p><p>Resultatet visar att antalet elever som för en dialog med texten ökar med mitt undervisningsförsök. Fler elever använder ett sociokulturellt förhållningssätt, och fler elever bygger en föreställningsvärld.</p> / <p>”It is so good to read” is an expression that we all have heard. These words are pronounced as a formula about the reading of fiction. With this essay I hope to inspire more people to engage in how fiction can be used in education.</p><p>For those who have decided that the reading of fiction in school is important, it is interesting to discuss how readers of fiction develop. I carried out a teaching experiment with the purpose to examine if the students in a class 8 develop as readers of fiction when they use the narrative tool narrator´s perspective.</p><p>Prior to and after this education the students wrote down their spontaneous impressions of a passage in Janne, min vän by Peter Pohl. The study is based on the textanalyzes of these texts.</p><p>The theoretical standpoint is based on the theories of Kathleen McCormick and Judith Langer. From their theories of reception I analyze how the students approach the text, if this approach changes after using the narrative tool and what this change implies.</p><p>The result shows that the number of students who communicate with the text have increased. More students approach the text in a social-cultural way and more students build envisionments.</p>

”Det är så bra att läsa” är ett uttryck som vi alla har hört. Som en formel uttalas dessa ord om skönlitterär läsning. Med den här uppsatsen hoppas jag inspirera till att fler människor engagerar sig i hur skönlitteratur kan användas i utbildningen. För de som har tagit ställning till att skönlitteraturen har en viktig roll att spela i skolan, är det intressant att diskutera hur skönlitterära läsare utvecklas. Jag genomförde ett undervisningsförsök i syfte att se om eleverna i en årskurs 8 utvecklas som skönlitterära läsare när de får använda det narratologiska verktyget berättarperspektiv. Före respektive efter denna undervisning skrev eleverna ner sina spontana intryck av ett avsnitt ur Janne, min vän av Peter Pohl. Studien baseras på textanalyserna av dessa texter. Undersökningen förankras med Kathleen McCormicks och Judith Langers teorier. Utifrån deras receptionsteorier analyserar jag hur eleverna förhåller sig till texten, om detta förhållande förändras efter att de har använt det narratologiska verktyget och vad denna förändring innebär. Resultatet visar att antalet elever som för en dialog med texten ökar med mitt undervisningsförsök. Fler elever använder ett sociokulturellt förhållningssätt, och fler elever bygger en föreställningsvärld. / ”It is so good to read” is an expression that we all have heard. These words are pronounced as a formula about the reading of fiction. With this essay I hope to inspire more people to engage in how fiction can be used in education. For those who have decided that the reading of fiction in school is important, it is interesting to discuss how readers of fiction develop. I carried out a teaching experiment with the purpose to examine if the students in a class 8 develop as readers of fiction when they use the narrative tool narrator´s perspective. Prior to and after this education the students wrote down their spontaneous impressions of a passage in Janne, min vän by Peter Pohl. The study is based on the textanalyzes of these texts. The theoretical standpoint is based on the theories of Kathleen McCormick and Judith Langer. From their theories of reception I analyze how the students approach the text, if this approach changes after using the narrative tool and what this change implies. The result shows that the number of students who communicate with the text have increased. More students approach the text in a social-cultural way and more students build envisionments.

The aim of this study is to describe how pupils in fourth grade talk about their attitude of reading fictional narratives in school and on their spare time, their motives to read and how the school promotes fictional experiences.   The study is based on interviews with 18 pupils from the same class, divided in four groups. The interviews were analyzed from a literature reception theory.   The result shows that some pupils are very engaged in reading fictional narratives, while others more or less, are forced in to reading, because their teacher wants them to. All the interviewed pupils would like to read exciting, interesting books, but they feel that they don’t get the right support neither from their teacher, parents nor their friends. They describes that they don’t discuss the meaning of reading or things that the reader can read between the lines. One important conclusion that shows is that it’s important to choose literature that has a point of contact with the pupil and that the text is on the right level. / Studiens syfte är att beskriva hur elever ur årskurs fyra berättar om läsupplevelser i skolan och på fritiden, vad som motiverar dem att läsa samt hur skolan bidrar till att ge eleverna skönlitterära upplevelser.   Studien bygger på fyra kvalitativa gruppintervjuer med totalt 18 elever, ur samma klass. De svar som jag har fått har analyserats utifrån ett receptionsteoretiskt perspektiv.   Resultatet visar att en del elever är väldigt engagerade och älskar att läsa, medan andra mer eller mindre känner sig tvingade att läsa för att läraren säger att de ska läsa. Alla intervjuade elever skulle vilja läsa spännande, intressanta böcker, många känner dock att de inte får någon hjälp eller inspiration från varken sina lärare, föräldrar eller kamrater. De elever som jag har intervjuat beskriver att de aldrig diskuterar böckernas budskap med varandra, vad som sägs mellan raderna och inte heller begrepp de inte förstår. En viktig slutsats visar på att det är viktigt att välja litteratur som knyter an till eleverna och att den befinner sig på rätt textnivå för dem.

L’idée-force de cette thèse est que littérature et sexualité ont partie liée, mais également et surtout, que la potentielle sexualisation de l’art verbal, à l’écriture comme à la lecture des textes, ne se limite pas à un genre spécifique d’écrits (qui irait du sentimental, au pornographique, en passant par l’érotique). La sexualisation à réception, toujours aléatoire, dépend de la force du style et de la sensibilité des lecteurs. La théorie de la réception que nous tentons de construire postule qu’il n’y a ni grand, ni petit art, ni arts majeurs, ni arts mineurs. L’art est un effet produit par la rencontre entre une oeuvre et un public ; il se manifeste intégralement en sensations. L’effet de l’art atteint son paroxysme lorsqu’il se fait pornographique. Cet effet pornographique de l’art, dont nous souhaitons cerner les conditions de déclenchement et de matérialisation à réception, émane de créations littéraires dont le style attire, séduit, aimante, captive et ravit les lecteurs, en leur offrant une vision de l’humain dans ce qu’il a de plus fragile et fascinant : son intimité la plus profonde et la plus cachée, son sexe. Pour appréhender ce vécu si intense et si rare qu’offrent certains textes, nous tendrons à définir l’idée de style pornographique, au sens de création par le style d’un effet pornographique. Puis, nous nous intéresserons plus largement à la portée et à la valeur de ce style, en proposant une typologie des principaux phénomènes qu’il déclenche à réception. Enfin, si l’effet pornographique est l’horizon vers lequel tout écrit littéraire tend, cet effet ne demeure, cependant, qu’un horizon. De ce fait, il conviendra de préciser, dans un troisième temps, les limites et les dangers du pornographique. / The main idea of this thesis is not only that literature and sexuality are related, but also that the sexualization of art, during the writing and the reading as well, is not restricted to specific literary genres (sentimental, erotic, or pornographic). The sexualization, always uncertain, is both due to the strength of style and to the readers’ sensitivity. The theory of reception we intend to elaborate is based on the idea that there is neither high art nor low art. Art is an effect caused by the encounter of a work and a public. Art is nothing but sensation. Art can recreate some reality by means of invoking sensations.The effect of art reaches its paroxysm when it becomes pornographic.This pornographic effect is derived from literary texts whose style attracts, seduces, captivates and ravishes readers, by revealing the most deep and the most secret intimacy of humans : their sex. We intend to see where, when and how this effect may happen. First, we’ll try to define what we mean by “pornographic style”, in other words what in style manages to create a pornographic effect on readers. Then, we'll attempt to bring to light the many phenomena it induced. However, even if the pornographic effect is the main purpose of art, it has to remain an horizon. Therefore, we'll have to consider the limits and risks of all pornography.

This thesis brings to light evidence for the circulation and first-hand reception of Aristotle's Poetics in sixteenth-century England. Though the Poetics upended literary thinking on the Continent in the period, it has long been considered either unavailable in England, linguistically inaccessible to the Greekless English, or thoroughly mediated for English readers by Italian criticism. This thesis revisits the evidentiary basis for each of these claims in turn. A survey of surviving English booklists and library catalogues, set against the work's comprehensive sixteenth-century print-history, demonstrates that the Poetics was owned by and readily accessible to interested readers; two appendices list verifiable and probable owners of the Poetics respectively. Detailed philological analysis of passages from Sir Philip Sidney’s Defence of Poesie proves that he translated directly from the Greek; his and his contemporaries' reading methods indicate the text circulated bilingually as standard. Nor was Sidney’s polyglot access unusual in literary circles: re-examination of the history of Greek education in sixteenth-century England indicates that Greek literacy was higher and more widespread than traditional histories of scholarship have allowed. On the question of mediation, a critical historiography makes clear that the inherited assumption of English reliance on Italian intermediaries for classical criticism has drifted far from the primary evidence. Under these reconstituted historical conditions, some of the outstanding episodes in the sixteenth-century English reception of the Poetics from John Cheke and Roger Ascham in the 1540s to Sidney and John Harington in the 1580s and 1590s are reconsidered as articulate evidence of reading, thinking about, and responding to Aristotle's defining contribution to Renaissance literary thought.

"L’Eglise s’est toujours considérée comme un ordre infra-étatique (l’Eglise dans l’Etat avec ses paroisses et ses diocèses), tout en obéissant aux règles posées par une autorité étrangère à l’Etat, la papauté. De ce fait, l’Eglise est un ordre juridique concurrençant l’Etat, car elle exerce une domination sur le même territoire et les mêmes sujets. Le Gallicanisme se présente comme la synthèse permettant de régler juridiquement ces conflits. Il prône l’indépendance de l’Eglise de France et de l’Etat face à la papauté et suppose l’intervention du Souverain dans les affaires ecclésiastiques. Deux mécanismes juridiques essentiels servent à remplir ces fonctions. D’une part, au moyen des techniques assurant la réception des règles ecclésiastiques dans l’Etat, le Gallicanisme produit un discours technicien ancré dans une doctrine de la souveraineté, pour préserver l’existence d’une « exception française » menacée par les prétentions hégémoniques romaines. D’autre part, inventée pour résoudre les conflits de compétence opposant les autorités étatiques et ecclésiales, la procédure de l’appel comme d’abus subordonne l’Eglise de France à l’Etat par le contrôle juridictionnel de ses actes. Elle désigne l’Etat comme l’instance titulaire d’un pouvoir exclusif de déterminer l’étendue de sa propre compétence et de celle de l’ordre ecclésial. Envisagé sous l’angle des rapports entre ordres juridiques, le Gallicanisme apparaît alors comme une étape incontournable dans la construction intellectuelle de l’Etat moderne, à laquelle il fournit des supports théoriques et techniques". / By the properties that characterize it, Catholic Church is often considered, following the example of the State, as a legal system which takes place inside and outside State. Before the 1905 Act, Gallicanism struggles for independance of the Church of France and the State against papacy, encouraging Sovereign’s interventions in ecclesiastical affairs. Gallicanism can be translated in terms of relations between two legal systems, and the matter of this study is to prove this movement has been a momentum in the intellectual building of Modern State through the reflexion of french jurist from the Ancient Monarchy to the end of the 19th century. Church and State are, by many ways, concurrent systems aiming to dominate the same territory and the same subjects. Gallican thoughts present themselves like an answer to these conflicts. Canonical rules promulgated by the Pope or a Council are not self-executing, and have to be approved by the Sovereign to be Law of the State. Gallicanism build a technical discurse based on State sovereignty to preserve a french particularism against the Roman hegemonic threath. Invented to resolve conflicts of competences between ecclesiastical and State’s authorities, the procedure named « appel comme d’abus » gives exclusive power to the State to determine the extent of its competence. Furthermore this procedure subordinates Church of France to State by the judicial review of its administrative acts.