The aim of this essay is to present a model for analyzing the in- terplay between voice and point of view in literary journalism/reportage. The model can be used to nuance previous researchers’ discussions about “subjective” and “objective” journalism. It also problematizes the reporter’s special role as an eyewitness by highlighting how narrative techniques can create empathy with the Other and move the reader’s gaze away from the reporter, away from the one who is witnessing. Using tools from classical narratology, I focus on the form of the texts. The tools help me investigate the narrator’s as well as the characters’ subjectivity and interpret the narra- tive’s construction as an expression of a journalistic mission. I systematize variables such as the narrator’s visibility, the relation between an experienc- ing reporter and a narrating reporter, the interplay between the experienc- ing reporter and other characters in the text, and in what way a level with a director (an implied author) can facilitate a comparison between vari- ous kinds of literary journalism. I also examine whether it might be time to abandon the theory that a first-person reportage is more subjective in general than a third-person reportage. I explore whether it is instead the narrator’s visibility that determines the position of the text on a scale be- tween “subjective” and “objective” forms. (Note: I have provided a glossary of terms at the end of the essay.)

Drawing upon the tenets of discourse narratology, this essay identifies and discusses the various narrative and rhetorical features typical of literary journalism/reportage that have evolved from the classical tradition of first-hand observation/eyewitness reporting. I give examples of narrative patterns that have influenced literary journalism throughout the 20th century and up until today, and argue that they differ from structures found in comparable ways of narrating in fiction as well as in autobiographies. I highlight four consequences of a rhetorical “position of witnessing”: a narrative perspective directed from the outside and inward, and an illusion of simultaneity of a reporter being present on the spot and seemingly witnessing and narrating at the same time. Furthermore, the essay explores how realism, in terms of mimetic (scenic) form and scrutinized details, works differently in literary journalism than in realistic fiction. In this article, I attempt to demonstrate how narratology can open new doors to our understanding how literary journalism works in its single structures and how these structures in turn affect the reader’s experience.

Tysk höst (German Autumn) is perhaps the most famous Swedish reportage book from the twentieth century. It was written as a series of reportages by the young author Stig Dagerman and depicts the life of ordinary people in Germany in 1946. Themes such as suffering, guilt, and feelings of dejection are discussed, framed by an atmosphere of grayness. The reader is invited to empathize, not with certain individuals but rather with anyone who is cold, hungry, and bereaved of their beliefs. This chapter explores how these themes are made universally human by an advanced literary technique. Dagerman links the abstract to the concrete, the argumentation to what he has observed on the spot. This is achieved through figurative language, where key words are repeated, gradually transforming them in meaning and blurring the line between illustrated scenes and metaphors. The result becomes a paradoxical kind of gray expressiveness, where the power of the language seems to contradict the gloomy content.

The 1910s was a dynamic period in Swedish journalism when reporters became professionals and the largest newspapers engaged their own foreign correspondents. A prominent correspondent of the time was Gustaf Hellström, also a famous writer. His reports from France during the First World War, collected in the book 1 1/2 mil härifrån står världens största slag, are known for their dedicated attitude. An assumption in this essay is that such an attitude corresponds to a narrative commitment, which could be divided into narrative empathy and narrative compassion. 

Using tools from discourse narratology and cognitive narratology, I investigate narrative techniques and strategies at work when a narrative commitment is constructed in the reportages from France. A conclusion is that parallel perspectives and a multitude of voices within the narrative construction connect the individual to the general and convey empathy with all victims of the war, civilians as well as soldiers on both sides. 

In a final section, I place Hellström’s series of reportages from France within a broader context where I highlight similarites with Stig Dagerman’s series of reportages Tysk höst from 1946 and Svetlana Alexievich’s documentary books from the 1980s and onwards.

This study ­is the first dissertation where the genre of reportage (in the U.S. classified as literary journalism) is systematically mapped with the help of narratology. Using tools primarily from structural discourse narratology, the thesis examines, describes and maps written reportages as narratives. Rhetorical and cognitive narratology complement the approach. 

The investigation rests on two assumptions. Firstly, a reporter’s professional purpose is to report about people and states of affairs outside the reporter herself. This results in a contextual commitment, which leaves traces in the narrative in the form of a textual commitment. The latter is in turn divided into narrative empathy and narrative compassion/sympathy. The thesis highlights the creation of narrative structures and stylistic features in reportages and the overall conclusion is that conceptions about a reporter’s professional purpose in fact do influence the narrativity of the text. 

Secondly, in contrast to news journalism, reportage is a personal genre that can be considered a directed reality: the content is taken from reality but the form is personal and a consequence of the writing reporter’s choices. The thesis presents a narratological model where the text develops in the interplay between three instances: a director, a narrator (in a first-person reportage a narrating reporter) and experiencing characters (in a first-person reportage including an experiencing reporter). The director should be regarded as a structuring property of the text itself. 

Part 1 provides a historical background to the reportage genre and the social side of the reporter role. In part 2, narrative characteristics of the genre are explored and defined together with the common roots of reportage and novels within realism and naturalism. Part 3 demonstrates how a contextual commitment can be transformed into a textual commitment. Throughout the dissertation, the director model is used to investigate differences and similarities between subcategories within the genre, sometimes between single texts, sometimes between reportage in general and fictional narrative. In part 4, a typology of reportage is presented. The genre is divided into five types of narration, based on the representational relation between how the physical reporter has collected information and in what ways an experiencing reporter is or is not apparent in the text. 

The thesis ends with a historicization of consonance and dissonance within the reportage genre. Consonance emphasizes the characters’ “here-and-now” and can be found within a broad, classical tradition of eyewitness reporting. Dissonance emphasizes the narrator’s retrospective perspective and can be found within the modernistic type of American New Journalism and in more experimentally written reportages from the most recent decades. The thesis demonstrates how both these ways of narrating may enable the reader’s narrative empathy with someone else than the experiencing reporter.

The analyses and conclusions are mainly based on Swedish reportages from 1819 to 2014. This material is complemented with international reportages from 1903 to 2007,  from Norway, Poland, Germany, Great Britain, Italy, Bohemia, Croatia, Belarus and the U.S. Accordingly, the dissertation demonstrates that traditions of reportage are primarily international and that the observations about narrative patterns within the genre are also relevant outside of Sweden. 

A reportage is the reporter's story about reality. Even though it details real events, it always presentsa personal interpretation of these events. In contrast to the news article, which primarilyinforms readers, a reportage involves a pronounced degree of personal narration. Normally it is based on the reporter's role as an eyewitness. This essay discusses how the position of the eyewitness establishes narratological structures inthe text, which seem to differ from the structures present in other kinds of non-fiction narrativestold in the first person. For instance, in reading an autobiography, a reader's empathy willbe drawn toward the main character. By contrast, a reportage will direct the reader's empathyaway from the reporter and towards the other. The narratological construction of a reportage may be studied as an interplay between threeinstances: the experiencing reporter, the narrating reporter and the director (the implied reporter).Thus, a three-part model may be utilised in order to help explain, for example, how ahomodiegetic narrator can be combined with external focalisation, and how a character otherthan the experiencing reporter can be internally focalised. It can also illuminate how the textmay employ a form of dissonance between the experiencing and the narrating reporter to serve ajournalistic purpose (displacing the perspective from person – the reporter – to subject-matter).

Hur ser berättelsen om svensk gängkriminalitet ut i tre aktuella reportageböcker och med vilken berättarteknik är den konstruerad? Med en blandning av narratologisk och medieretorisk analysmetod undersöker den här artikeln hur innehåll och form samspelar i Mammorna av Alexandra Pascalidou, Familjen av Johanna Bäck- ström Lerneby och Tills alla dör av Diamant Salihu. En slutsats är att skiftande berättarperspektiv kan motverka ensidighet, samtidigt som narrativ medkänsla utan parallell narrativ inlevelse kan hindra läsarens möjlighet att föreställa sig de skildrade människornas situation. Dramatiserade händelseförlopp kan öka närvarokänslan, medan en reporter som ifrågasätter sin egen auktoritet uppmuntrar läsaren till att undvika förenklande slutsatser. Till sist bidrar person- beskrivningar och urval av fakta i de tre böckerna till skilda budskap. Studien visar att reportagegenren tack vare sin narrativa form har potential att skildra samhällsproblem på komplexa sätt. Detta gäller särskilt när gestaltningen kombineras med gedigen faktaresearch. 

This article discusses the genre of literary journalism/reportage against a background of earlier assumptions on fictionality. At a local level in nonfiction, fic- tionality can be expressed through invented stories and scenarios that create a con- trast to the global, nonfictive context. However, fictionality can also be expressed through stylistic devices that traditionally have been associated with narrative fic- tion. A local contrast may appear, but only if the genre in itself is not narrative. If the focus is on the nonfictional and narrative genre of literary journalism/reportage, there will be no contrast. Here, the rhetoric will work just like in narrative fiction and should be considered to be part of the features of narrativity. Furthermore, the concept imagination should be perceived in close relation to Monika Fludernik’s understanding of narrative as experience. The conclusion is a call to partly rethink existing connections between fictionality, narrativity, and imagination in order to better understand the narrative nature of reportage. 

In Argentina, Pentecostalism had a breakthrough in the early 1980s, and today more than 10 per cent of the population are Pentecostals. The revival coincided with a socio-political transformation of Argentinean society. After half a century of dictatorships and Peronism, democracy was restored, and structural changes paved the way for a certain “autonomisation” of politics, law, economy, science and religion. The "new" form of society that developed resembles what in this study is called a Western model, which to a large degree is currently being diffused on a global scale. This work examines the new religious sphere and how Pentecostals relate to society at large, and the political and judicial sphere in particular.

Social systems theory and an idea of communication as constitutive of social spheres, such as religious, political and judicial ones, form the theoretical foundation for the study. Methods that have been used are fieldwork, interviews and analyses of written material. It is concluded that evangelisation and transformation are of major concern to Pentecostals in contemporary Argentina and that this follows a global trend. Evangelisation has always been important to, even a hallmark of, Pentecostalism. What has become as important is the urge for transformation, of the individual, the family and society. This leads to increased socio-political engagement. However, Pentecostals do not have a “fixed” idea of how society should be organised, i.e., they do not yet have a full-fledged political theology, a public theology or what could be called a Pentecostal ideology. This is mainly because they experience a lack of “compatibility” between the Pentecostal and the political communication. Their approaches to socio-political concerns seem to be based on an understanding of certain “values” as the fundamental building block of society.

This paper addresses a design exploration focusing on interactive jewellery and wearable computing that could affect sexual harassment in social contexts in everyday life. Drawing on a design inquiry study that lead to the creation of an interactive and digital necklace named Sunshine, which is a personal alarm connected to an emergency center, this paper focuses on how a piece of digital jewellery can contribute to women’s empowerment in relation to sexual harassment. The functionality of Sunshine is based on a device that will be activated when the user presses a button on the necklace and an alert with the location of the user will be sent to an alarm center. The users press the button when in danger or exposed to violence and/or abuse. This study so forth addresses a design exploration of a piece of jewellery that can be seen as a symbol for women’s safety, unity and equality. The combination of digital technology and fashion design demonstrate that people can be brought together and especially be empowering in social contexts where sexual harassment might be a part of women’s everyday life.

This paper explores the linguistic construction of the president of Ukraine, Volodymyr Zelenskyj, in Swedish newspapers in 2019 and 2022. Using the framework of Critical Discourse Studies along with Cognitive Linguistics the aim of the study is to gain an understanding of what constructs a heroism discourse surrounding Zelensky. Utilizing the Discourse-Historical Approach as the main method allows for a certain qualitative analysis of news texts which illuminate discursive strategies and possible conceptual metaphors. Findings suggest there has been a shift in the discourse concerning Zelensky, and that he in march 2022 is part of a heroism discourse in which he symbolizes change.

Stereotypes and myths are created by media to simplify and mystify reality. The two are used to form negative stereotypical images that are used as tools of social oppression in today’s white patriarchy. This essay will focus on how Toni Morrison’s The Bluest Eye depicts black womanhood and motherhood and resists the reductive images of black women through the narrative technique. In the text we find the stereotypical images of the Mammy and the Matriarch in the character Pauline "Polly" Breedlove, both simplifying and mystifying black motherhood but also condescending towards African-American family constellations. The text resists these images by making readers inhabit Polly who at first fits in to the two archetypes, only to then give us additional information and use an engaging narrative technique that invites the reader to decide if Polly really is the Mammy and the Matriarch.

The aim of the study is to examine which strategies do elementary school teachers use to motivate their students to read, and what strategies do teachers and students consider to be the most effective: Internal or external motivation. The methods for collecting data have been observations, interviews and webpages, and thud the study contains both quantitative and qualitative elements. The result of the current study showed that teachers used both inner and outer motivations to motivate students with intention of adapting teaching to the students' needs and conditions as mentioned in the curriculum.The results also displayed that students are motivated by both external and internal motivation, for example, inner motivation was created when students experienced responsibility for their learning, while external motivation was when students learning involved reward and assessment.

This research explores how women who wear the veil face discrimination and everyday racism in society. The purpose of the study is to investigate how veiled health care workers experience discrimination and everyday racism in health care from colleagues and patients. By studying women's vulnerability, it is possible to gain a better understanding of what veiled women go through. The veiled women meet new patients and colleagues every day. Every day is a new challenge for them. These women have to endure racist and discriminatory comments from patients and colleagues on a daily basis, which results in them being affected in their work. I interviewed four veiled healthcare professionals who were willing to share their personal experiences with discrimination and everyday racism. The results showed that the women used humor to deal with racism and all respondents suffered from anxiety and pressure when dealing with patients and colleagues. The respondents felt subordinated and excluded. They experienced ethnic discrimination and religious discrimination. The patients and colleagues could express hostility towards the veil and assume that the women were oppressed because they wore the veil.

Bil- och containerbränder, stenkastning mot bussar, brand i en skola och en nedbrunnen restaurang. Så var läget i Botkyrka och Huddinge under några dagar i maj 2013. Det talades om kaos, ungdomsgäng, och attacker av högerextrema grupper. Det gjordes jämförelser med händelserna i Husby som startat två dagar tidigare. Civilsamhället reagerade snabbt och nattvandringar med föräldrar och andra vuxna organiserades. Myndigheternas krisberedskap var inte utvecklad och det hela uppfattades ibland som ”en blixt från klar himmel”. Poliskårens dubbla uppgift i form av närpolisens välvilliga kontakt och kravallstyrkornas repression väckte starka reaktioner som personal på ungdomsgårdarna fick hantera, och sedan uppmanades att inte tala om.

Vilka lärdomar kan vi dra av dessa händelser? Hur kan begreppet ”förort” ge kunskap om civilsamhället i bred bemärkelse?

I detta vittnesseminarium Brinner ”förorten”? berättar aktörer som var direkt inblandade vad de såg och hur de uppfattade händelserna på lokal nivå.

”Jag letade efter en mordängel och jag hittade en prislista.” Orden är journalisten Marciej Zarembas, en av deltagarna på det vittnesseminarium om vårdens marknadisering som hölls i Almedalen sommaren 2013 och som återges i denna skrift.

Marciej Zaremba, som hittat närmare 2 500 virtuella avtal och en modell av företagsliknande styrformer inom den offentliga vården, är övertygad om att prislistor, beting och vårdgarantier styckar upp vården i moment och diagnoser utan hänsyn till faktisk tid och resursåtgång, hänsyn till patentens behov eller vårdens kvalitet och utgång.

En annan av seminariedeltagarna, Klas Eklund, professor i nationalekonomi, menade istället att problemen handlade om patienters bristande valfrihet, statens ekonomiska problem och dåliga styrsystem i vården. De skulle lösas genom att vården drevs som ett företag med interndebitering och prislistor. Där skulle personalens initiativ kunna tas till vara och den solidariska sjukvårdsmodellen försvaras.

That´s mere rhetoric! Rhetoric, which always occurs in discourses where questions of ethics is important, has since ancient times been accused of being an immoral and a value-neutral art that seduces people with flattery and what they want to hear with no interest in presenting the truth to the audience. Plato's condemnation of this practice was tough and Plato's works Gorgias and Faidros have since represented the relationship between rhetoric and philosophy; rhetoric that is described as the semblance of an art [pseudos] while philosophy stands as the search for truth. In my work I want to present the relationship between rhetoric and ethics by reading Charlotte Jørgensen and Barbara Cassin interpretations of Chaïm Perelman and Lucie Olbrecht-Tyteca, and examine the consequences of this approach may have for rhetorical criticism.

This essay argues that Jamaica Kincaid’s The Autobiography of My Mother depicts how the indigenous colonized in Dominica are living ‘unhomely lives’ and that their experience is one of the double consciousness. i.e. when a person see the world through different "lenses." The person does not only have a dual personality but also feels the notion of having different roles in society, such as having a black identity and at the same time conforming to the stereotypical norms of the white society for a black person. Therefore, the person sees the world, and oneself, through one’s own “black” lens and the “white” lens at the same time. Subsequently, with a setting full of diversities, the novel depicts a colonial background where the characters have been ascribed certain features to their persona. Furthermore, the novel uses metaphors to show a futile endeavor of finding identity of the main characters in an ineluctable power structure. By utilizing the postcolonial theoretical framework; mainly Du Bois’s notion on ‘double consciousness’ and Bhabha’s term ‘unhomely lives’ which means to grow up between two cultures, to live on borders and in margins and not feel at ease in either sides, expands the readers understanding of the text. A central aspect of the novel is the alienation of an individual’s personal identity in the context of a postcolonial society. Therefore, the psychology of the novel’s characters will be a major theme of this essay. Nevertheless, the novel shows that it is hard for the characters Alfred and Xuela to break free from the bonds of society.

The purpose of this study is to investigate how teachers use everyday language in parallel with school language to support students to develop their language in mathematics in 4-6 th grade.

To examine this, three research questions were formulated:

• How do teachers use everyday language and school language in teaching mathematics?
• In what way do teachers support students to develop their mathematical scientific language in teaching mathematics?
• What type of interaction is given the opportunity in teaching mathematics for students to be able to develop their mathematical school language?

To collect data for the study, four qualitative observations were performed of four different teachers av two different schools. Each observation was then followed by a qualitative interview.

The result of the study indicates that teacher often use the everyday language to explain the school language for the students. Teachers also use different scaffolding methods as word explanations, asking questions or use student’s previous knowledge to support students to develop their mathematical scientific language. Finally, the result of the study shows that the students were given interaction with the teacher, interaction with each other but also individual learning to develop the mathematical school language.

Salome is the myth of the Oriental princess who dances for her stepfather, Herod the tetrark at his banquet. He becomes so enchanted by Salome's dance that he allows her to wish for what she wants. On the advice of Queen Herodias, Salome's mother, she asks the head of prophet John on a platter. Herod is horrified, but grants Salome's desire.

This is the first in a series of Salome petitions as Mark and Matthew in the New Testament. Salome has since then never ceased to fascinate artists and writers through the ages. From the medieval petitions with the focus on Salome's dance of the Renaissance with the shift from dance to John the Baptist's head on a plate, the romanticism of Heine and the amazing climax in the late 1800s feverish petitions, symbolism, decadence and modernism's painterly hallucinations of Salome as the castrating woman par excellence, of Salome as the terrifying Femme Fatale and "La belle dame sans merci".

Ann Jäderlund's Salome is the latest of Salome petitions of all time. An unbroken tradition of  a blood-red thread spinning throughout history, from Biblical days until our days, and postmodernism. Jäderlund's Salome is a fascinating creation, just as exciting and alarming as the  Salome character herself. The sliding movement between irony and sentimentality in the narration of the text is a complication, and one senses that the author's intentions are far more complex than what the current research today suggests. How can we understand the incomprehensible, the recurrent male-killing in the play? Literally and realistic in feminist psychoanalytic tradition, or figuratively and symbolically, in accordance with the mature and masculine tradition? Should we focus on the content of the text as the gender-oriented studies sought to assert, or should we instead focus attention on the text and dramaform as such? What happens if you problematised Jäderlund's drama based on Peter Szondi's and Mats Ödeen's genre determinations, is it possible at all to identify Salome as a modern drama then, or are moving in a new land, in such a postmodernist? And what characterizes in this case this as compared to the prior art tradition?

These questions may form the basis for my thesis after prolonged inability to find a theoretical input to a text reminding much about the author's other works, a lyrical souterraine to get lost in, to immerse and musical dream of, and be attracted to as be attracted to a dark star or the surrealist black sun. The black sun of the soul with its dazzling, and at once obscure perversion.

In this article, we explore the role of film in educational settings and argue that testimony and narrative are dependent upon each other for developing ethical judgments. We use the film 12 Angry Men to enhance our thesis that the emotional response that sometimes is intended in using film as testimonies in classrooms requires a specific listening; a listening that puts pupils at risk when they relate testimonies to their own life narratives. The article raises the importance of listening in training narrative ethos in relation to violence witnessed in film. The article contributes by enhancing an understanding of a relational dimension to testimony and narrative, which, in an Arendtian sense, is also put forward as a political relation.

This study reports on language mixing in two Romani communities, with a century-long presence in Finland and in Greece respectively. A quantitative analysis of free-speech data shows that verbs from the contact languages, Finnish and Turkish, are systematically inserted into a dominant Romani speech with their respective Finnish and Turkish tense, mood, aspect, and person morphology. The insertion in language A of non-integrated single words from language B is atypical for classic code-switching and borrowing, but is a well-known mechanism in the creation of mixed languages. Unlike mixed languages, however, where no single dominant language can be identified, Romani is the main component in the corpora under study. We suggest that this type of Romani language mixing illustrates an early stage of mixed language formation that did not develop into an independent mixed language, owing to changes in the sociopolitical settings.

Shipwrecks are a key site-type for maritime archaeological research and their investigations have been prominent in the subject’s development over the last sixty years. At one time their value was often squandered, with anything from cursory surveys to total excavations being undertaken for the same reason George Mallory suggested that mountains were climbed: because they were there. Today it is recognised that the remains of wrecked ships, through their distribution in time and space, their variety and their complexity, comprise one of the richest forms of archaeological source material. This volume brings together researchers who explore the ways in which ships can be understood and interpreted as material culture through their wreck sites, focusing on ships as artefacts, as agents, as technology, as society, as ideology and as symbols, as well as on what they carried and the people who sailed on them. Collectively they show that shipwrecks are not just the preserve of nautical specialists but have wider implications for the understanding of human action and past societies.

The editors: Jonathan Adams is a Professor of Archaeology at the University of Southampton and the founding Director of Southampton’s Centre for Maritime Archaeology (CMA) and Johan Rönnby, Professor of Archaeology and Director of the Maritime Archaeological Research Institute (MARIS) at Södertörn University. 

We report recent fieldwork on an early-16th-century wreck in the Stockholm archipelago, Sweden. The discovery not only provides new insights into early carvel shipbuilding and its adoption across northern Europe but manifests the changing role of ships and the nature of power and agency in the process of state formation at the dawn of the modern world. (C) 2012 The Authors

In the waters of the Southern Baltic, off the island of Stora Ekön, lies the wreck of a ship lost in 1495 belonging to King John (Hans) of Denmark (1455–1513). This paper draws on the archaeological investigation of the site since 2013 and summarizes previous archaeological and historical research. In its design, construction, and weapons technology the ship is both a rare example of a large carvel-built ‘great ship’ from the final phase of the Middle Ages and, in its role as floating embassy, a manifestation of socio-political processes of change that transitioned medieval Europe to a global, maritime world.

Victoria Benedictsson foi uma das figuras-chaves do “Grande Avanço Moderno” sueco, que precedeu mudanças essenciais para que a sociedade escandinava se tornasse mais igualitária – e uma das mais igualitárias do mundo – em termos de gênero. O trecho do romance Pengar (“Dinheiro”) vertido aqui pela primeira vez ao português brasileiro é fundamental para se compreender também o pensamento da autora e seu suicídio, que destituiu a cena literária e feminista prematuramente de um de seus ícones.

Focusing on the memories of Estonian refugees moving to Sweden in the wake of World War II, I analyze the concepts of “memory space” and history within the framework of the Escape as a master narrative. Following the research participants to the sites of their memories in Estonia and Sweden today, raised the questions what constitutes a lived memory space, and how is history defined within it?

Through a combination of a phenomenological analysis of memory’s lived ex­perience, using Walter Benjamin’s concept of montage as radical remembering and its dialectical relation to history, I show how embodied memories shape their own space, a space not always framed by historical master narratives and identity posi­tions, but rather a searching space that is always changing. Dealing with the politics of place and representations, these memories are constantly loaded and unloaded with meaning. Yet the space of lived memory is not always a creation of meaning. Walking around, searching for traces, a memory space confronts the place and maps its own geography. It turns to a spatial and temporal flow, which intertwines place and experience, and erases the past and future as homogeneous categories. It is a living space of memory, rather than a memorial space of representations.

The analysis focuses further on the tensions between remembering as a dialogue with history and memory’s ongoing acts of embodied experience. The position of in-betweenness appears in these stories of escape, not as a state of in-between home and away, past and present, but rather as an ongoing space-making process be­tween different modes and layers of memory. This is a process aware of the constant changes in the understandings of both history and personal experiences, intertwin­ing these new interpretations with embodied memory and thereby constantly add­ing new layers of experience to it. Memory’s tracing illuminates a memory poetics of the meanwhile and the in-between, which refuses historical closure.

Denna uppsats diskuterar Julia Kristevas begrepp det semiotiska i Pipilotti Rists audiovideoinstallation Tyngdkraft, var min vän, som visades på Magasin 3, Stockholm konsthall, 2007. Verket består av ett rum med upphöjda mattskulpturer där betraktaren kan ta av sig skorna och lägga sig ned för att ta del av två filmer som visas i taket ovanför matthögarna. Största delen av filmerna utspelar sig under vattenytan där en kvinna och en androgyn man utforskar ett universum fyllt av sinlighet, närvaro, lekfullhet, kropp, drifter och lugn -ett paradis fyllt av växtlighet och där tyngkraften ibland minskat. Bilder i starka färger och ljus, kaleidoskopiska formationer och ett till viss del uppbrutet bildspråk, möter åskådaren. Det semiotiska beskrivs av Kristeva som den driftsmässiga dimensionen av språket som är kopplat till ett förspråkligt stadium hos det preoidipala barnet innan det hunnit utvecklats till ett eget subjekt. Med detta menar hon den värld nära moderskroppen som barnet befinner sig i och där en icke-språklig kommunikation sker mellan mor och barn. Dock står denna värld inte helt utan lag och ordning eftersom modern (och barnet) alltid befinner sig under en viss språklig och kulturell lagbundenhet, kallad den symboliska ordningen, vilken kommer in även i det semiotiska. Det semiotiska och det symboliska är därför nära kopplade till varandra och kan inte existera utan varandra. Det semiotiska lever kvar även efter att det lilla barnet utvecklats till ett subjekt och trätt in i den språkliga, symboliska ordningen. Detta visar sig som semiotiska spår i bland annat konsten, och när det kommer till språket ser vi det främst i poesin, som är ett mindre lagbundet språk som rör sig i gränslandet mellan det semiotiska och det symboliska. Eftersom Tyngdkraft, var min vän inte innehåller något talat eller skrivet språk görs i uppsatsen en koppling mellan detta verk och det semiotiska genom utforskandet av olika element i verket. Dessa element är tyngdkraften, jorden, vattnet, bildspråket, upprepningen, rytmen, moderskroppen, paradiset, affekterna och drifterna samt gränslandet natur och kultur.

This essay’s primarily focus is on the common discourse about the persisting effects of the past in the present in Margaret Atwood’s The Handmaid’s Tale(1985)and Octavia E. Butler’s Kindred (1979).These novels are the testimonies of the protagonists Offred and Dana who shares their experience of traumatic violence and oppression. Dana, with her ability to time travel, will see her present time in clearer light as she experiences the life of a slave on an antebellum plantation. Offred, the Handmaiden owned by the totalitarian regime Gilead, portrays her contemporary life in parallel to remembering her former and thus describing Gilead’s increasing authority. Based on different theorists and concepts in the field of cultural memory studies, this essay examines the tension between memory and history, the distantness towards the past and the problematics with representations of traumatic events. As I argue that the voices of Dana and Offred calls attention to the importance of perspective and of sharing stories, they are also an act of hope, therapy and resistance; an act that also make possible a critique of the processes of the production of historical knowledge.

The communication regarding the new corona-virus raises questions about availability and plain language. In Sweden, approximately 1.5 million people are in need of this communication through written language due to, inter alia, hearing impairment. Although subtitles are considered one of the most read genres today, it has received little focus in Swedish linguistic research, especially when it comes to intralingual subtitles. However, the communication through subtitles is limited and can lead to information loss. In Sweden, SVT as a public service channel has special requirements to maintain good quality in subtitles but nonetheless omissions are a prerequisite. However, this must never affect the loss of important information. Modality is considered within the Systemic-Functional Linguistics as linguistic tools to create opportunities to shift communication in different degrees and directions. A similar shift in degree can occur in expressions of valuation and opinions. Therefore, modality and valuation are interesting and important to study in a well-known TV- show that communicates, informs and debates about a social-crisis like the Corona-virus. This paper examines modality and expressions of valuation in the adaption from speech to subtitles in the Swedish news-program Agenda (SVT) reporting on the Corona-virus in Sweden and the world. Through the subtitling-shift model created by Sahlin (2001), I examine the omissions of modality and the expressions of valuation. The results show that the communication in subtitles have a weaker emphasis of conflicting opinions, are more objectively constructed and that there is a shift in nuances.

The aim of this paper is to examine the didactic potential of the books: Kitty and The Witch Tree Symbol, Kitty and the Mystery of the Stolen Books, Yes, See Lotta and Dear Lotta. All these booksbelong to the B.Wahlström series of girls' books, a literary genre that has been looked down upon overtime and considered harmful to read because of the fact that they where too stereotypical. The reason forthis is that the characters are far too gender stereotypical and can have a negative impact on young girls.The essay intends to investigate how these books, despite being girls' books can be used as tools in theschool's value base work, especially regarding gender equality, equality, norms and stereotypes. It alsoexplores how the selected books can be used in the classroom to address gender and sex issues.To answer the aim of this paper, a qualitative method, close reading, has been used. During the closereading, there has been a specific focus on how the feminine characters, in particular how the femaleprotagonists' Kitty and Lotta, are portrayed. The theoretical approaches used to analyse the books aredidactic potential, defined by Malin Alkestrand, and the gender system, defined and explained byYvonne Hirdman. The result of the analysis was that there is a didactic potential in how Kitty and Lottaare being described since their characterization on several occasions can provide an opening fordiscussing fundamental values in school. The study also showed that the books selected for this analysishad scenes that may work as a tool in a classroom context to address and discuss the topic of sex andgender.

This study examines the work of art in the underground station Kungsträdgården in Stockholm and discusses the observers interpretation of the art in the station. When the artist Ulrik Samuelson got his commission to shape the station he was influenced by Marcel Duchamp and the concept art. Two themes were integrated in the work of art, the actual culture life and the palace called Makalös, which was situated just above the currant station, three hundred years ago. The station was built in two stages.

The first part was opened in 1977 and the second part in 1987. Panofsky´s iconographic working method has been used in this essay. Accurate observations of the work of art and relevant literature studies are described in the study. Samuelson’s work has a lot of references to currant culture, social and political life of the time as well as so called ready-mades from Stockholm and artefacts from Makalös.

The observers understanding of the work of art is dependent on for example the observers age and knowledge. The parts that were present thirty years ago were known by people at that time but are hardly known by anybody nowadays. The modern young observers may not interpret every part of the numerous things and symbols although this will probably not prevent them to enjoy the work of art as a highly artistic production.

The article builds on ethnographic fieldwork within the LGBTQ (Lesbian, Gay, Bisexual, Trans and Queer) milieu of Istanbul. It is based on material collected through participant observation and semi-structured interviews with people who at the same time self-identify as practicing Muslims and have romantic and sexual relations with people of their own sex. The protagonist of the article is a pious Muslim woman who can be placed in the category of LGBTQ Muslims who do not seek coherence and are not involved in a reinterpretation of their Islamic tradition. The article explores the complex ways in which this woman handles the potential conflicts between her sex life and her religious beliefs, and points specifically to the way she supports herself on the firm belief that Allah loves and protects her.