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  • 1.
    Andersson, Gunnar
    Umeå University, Faculty of Arts, Department of historical, philosophical and religious studies.
    Critical rationalism and the principle of sufficient reason2009In: Rethinking Popper, Berlin: Springer , 2009, p. 21-30Chapter in book (Other (popular science, discussion, etc.))
    Abstract [en]

    According to the principle of sufficient reason we should always try to give sufficient reasons for the truth (or high probability) of our opinions. All such attempts lead to a trilemma of justification: they force us to choose between infinite regress, logical circle, or dogmatism. According to the principle of critical testing we should always try to test our opinions critically. It is reasonable to claim that opinions that has survived critical tests are true. Such truthclaims are conjectural and do not confront us with any trilemma of justification. Scientific theories can be tested through observations and experiments. Statements about observations and experiments can be tested by experience. Although Critical Rationalism is a philosophical position, it can also be critically discussed. If we follow the principle of critical testing, no trilemma of justification arises when we claim that it is reasonable to accept Critical Rationalism. This opens the way for a critical philosophy stressing the fallibility of human knowledge.

  • 2.
    Barrett, James
    Umeå University, Faculty of Arts, Department of language studies.
    The Ergodic revisited: spatiality as a governing principle of digital literature2015Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation examines the role of the spatial in four works of digital interactive literature. These works are Dreamaphage by Jason Nelson (2003), Last Meal Requested by Sachiko Hayashi (2003), Façade by Michael Mateas and Andrew Stern (2005) and Egypt: The Book of Going Forth by Day by M. D. Coverley (2006). The study employs an original analytical method based on close reading and spatial analysis, which combines narrative, design and interaction theories. The resulting critique argues that the spatial components of the digital works define reader interaction and the narratives that result from it. This is one of very few in-depth studies grounded in the close reading of the spatial in digital interactive literature.

    Over five chapters, the dissertation analyzes the four digital works according to three common areas. Firstly, the prefaces, design and addressivity are present in each. Secondly, each of the works relies on the spatial for both interaction and the meanings that result. Thirdly, the anticipation of responses from a reader is evaluated within the interactive properties of each work. This anticipation is coordinated across the written text, moving and still images, representations of places, characters, audio and navigable spaces. The similar divisions of form, the role of the spatial and the anticipation of responses provide the basic structure for analysis. As a result, the analytical chapters open with an investigation of the prefaces, move on to the design and conclude with how the spaces of the digital works can be addressive or anticipate responses. In each chapter representations of space and representational space are described in relation to the influence they have upon the potentials for reader interaction as spatial practice. This interaction includes interpretation, as well as those elements associated with the ergodic, or the effort that defines the reception of the digital interactive texts.

    The opening chapter sets out the relevant theory related to space, interaction and narrative in digital literature. Chapter two presents the methodology for close reading the spatial components of the digital texts in relation to their role in interaction and narrative development. Chapter three assesses the prefaces as paratextual thresholds to the digital works and how they set up the spaces for reader engagement. The next chapter takes up the design of the digital works and its part in the formation of space and how this controls interaction. The fifth chapter looks at the addressivity of the spatial and how it contributes to the possibilities for interaction and narrative. The dissertation argues for the dominance of the spatial as a factor within the formation of narrative through interaction in digital literature, with implications across contemporary storytelling and narrative theory.

  • 3.
    Bergström, Ellen
    Umeå University, Faculty of Arts, Department of language studies.
    ¿Y qué cree que no puedo?: La obra teatral El eterno femenino de Rosario Castellanos desde una perspectiva feminista.2019Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay’s main goal is to analyse Rosario Castellanos’s play El eterno femenino, published in 1975. Castellanos was an essayist, a poet, and novelist and played an important role for the feminist movement in Mexico during her time. In her work, she presents a stereotyped image of the Mexican woman and her history. Using humour and irony, she creates a satire which plays with the myth of the eternal feminine and ridicule gender stereotypes. This literary analysis is based on a feminist perspective. By examining the work through its social and political context and putting it in dialogue with the feminist literary theories, the primary aim is to receive a better understanding of the importance of the work. Having in mind the historical context of the feminist movement of the 1960s and 1970s in Mexico and the modern feminist literary criticism which took off in the late 1960s, the investigation focuses on the relation between the play and the situation of the Mexican women and their position in society as well as the aspects of the understanding of gender historically. The results show us how the woman is presented, in the traditional roles of the Mexican society, as the virgin, the married woman, the mother and the housewife in a humoristic way. The connection between the work and the feminist wave in Mexico during the 1970s is seen through the protagonist Lupita who becomes aware of a historical and contemporary oppression. Castellanos creates a fictional universe where the woman can finally tell her own story. We discover the traditional role of women as well as their battle against it.

  • 4.
    Bollig, Solveig
    Umeå University, Faculty of Arts, Department of language studies.
    Magi, makt och mytologi: Beskrivningen av samiska personer i fornvästnordisk litteratur2018Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This master’s degree essays aim was to analyse and to compare the descriptions of Sami people in three different types of sagas: Legendary Sagas, Sagas of Icelanders and Kings’ sagas. For this contribution, four Legendary Sagas, two Sagas of Icelanders and two Kings’ sagas were examined. The working hypothesis was, that sagas that were written closer to the narrative time were to be more realistic than episodes in sagas that were written significantly later. The results of the analysis of these sagas indicate that there are no significant differences between the different types of sagas and that the presentation of Sami people in these sagas is more affected by the writers worldview and intentions than the time they were written.

  • 5.
    Bonin, Helena
    Umeå University, Faculty of Arts, Department of language studies.
    Daemon Hailed and Interpellated: Accepting One's Nature in Philip Pullman's His Dark Materials2012Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This thesis discusses how Philip Pullman’s trilogy His Dark Materials can be interpreted using Louis Althusser’s concept of ideology. The dæmon is a distinct feature of the world of His Dark Materials and one that is of central importance to the narrative. The dæmon’s shape, which is in the form of an animal, has a profound effect on the lives of characters. The narrative presents this shape as a representation of the inner nature of each character. However, a closer look reveals that this shape is also strongly correlated to each character’s class. Althusser’s theories on ideology, hailing, and interpellation are here used to explain how the dæmon’s shape comes to be determined by the character’s class (is hailed and interpellated as a subject into ideology) and to show that the correlation between class and shape begins even before the dæmon’s shape becomes permanent. The thesis also aims to prove that the ideology presented in the narrative functions to make each character accept the shape his or her dæmon has settled into and to suggest some possible consequences of this, such as the confirmation and reaffirmation of the rigid class structures, which creates a society that is not defined by choice despite nature but by absence of choice because of class.

  • 6.
    Bränström Öhman, Annelie
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Den självklara kvinnliga blicken2014In: Västerbottens-Kuriren, ISSN 1104-0246, no 4.3, p. 26-26Article in journal (Other (popular science, discussion, etc.))
  • 7.
    Byström, Tora
    Umeå University, Faculty of Arts, Department of historical, philosophical and religious studies.
    Nordic solidarity in print: the Nordens Frihet Association and its magazine, 1939-452013In: Communicating the North: media structures and images in the making of the Nordic Region / [ed] Jonas Harvard and Peter Stadius, Farnham: Ashgate, 2013, p. 99-119Chapter in book (Refereed)
  • 8.
    Carlquist, Jonas
    Umeå University, Faculty of Arts, Department of language studies.
    Late medieval reading of Marian sculptures from Swedish parish churches2015In: Østnordisk filologi: nu og i fremtiden / [ed] Jonathan Adams, Köpenhamn: Syddansk Universitetsforlag, 2015, p. 197-217Chapter in book (Refereed)
  • 9.
    Carlquist, Jonas
    Umeå University, Faculty of Arts, Department of language studies.
    Rules in a Book: The Regulation of Daily Life at the Nunnery of Vadstena Abbey2014In: The Power of the Book: Medial Approaches to Medieval Nordic Legal Manuscripts / [ed] Lena Rohrbach, Berlin: Nordeuropa-Institut der Humboldt-Universität , 2014, p. 163-177Chapter in book (Refereed)
  • 10.
    Carlquist, Jonas
    Umeå University, Faculty of Arts, Department of language studies.
    The Use of Marian Sculptures in Late Medieval Swedish Parish Churches2014In: Collegium Medievale, ISSN 0801-9282, E-ISSN 2387-6700, Vol. 27, p. 114-135Article in journal (Refereed)
  • 11. Castro, Alfredo
    et al.
    Marner, Anders
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Konst och förvirring: David Eberhard; I trygghetsnarkomanernas land (2007)2009In: Västerbottenskuriren, no 16 mars, p. 30-Article, book review (Other (popular science, discussion, etc.))
  • 12. Elzinga, Aant
    Gunnar D. Hansson, Lomonosovryggen, Gråbo: Anthropos Förlag 20092011In: Journal of Northern Studies, ISSN 1654-5915, Vol. 5, no 1, p. 84-89Article, book review (Other academic)
  • 13.
    Enström, Ann
    Umeå University, Faculty of Arts, Department of culture and media studies. Umeå University, Faculty of Social Sciences, Umeå Centre for Gender Studies (UCGS).
    Orienting Towards the Phenomenal Woman: Presenting Mia Skaringer in Her Stage Show Horny as Hell and Really Holy2012In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 24, p. 34-43Article in journal (Refereed)
    Abstract [en]

    Orienting Towards the Phenomenal Woman: Presenting Mia Skaringer in Her Stage Show Horny as Hell and Really Holy The article presents the Swedish comedian Mia Skaringer and analyzes her one-woman stage show Horny as Hell and Really Holy from 2010. The analysis combines feminist scholar Sara Ahmed's theory of emotion with Simone de Beauvoir's theory of the situated body, but is also influenced by one of the early theatre phenomenologists, Bert O. States, who combined phenomenology and semiotics in a 'binocular vision'. The article scrutinizes the way Skaringer narrates her personal story in the performance, employing such concepts as personal genealogy and intermedial bricolage. Above all, it addresses Skaringer's ironical treatment of the hardships of being and becoming a woman, which Simone de Beauvoir problematized back in 1949 when she declared that woman is the 'second sex'. Drawing on Ahmed's theories of stickiness and circulating objects of emotion, the article investigates how Skaringer uses her situated body in the performance.

  • 14.
    Farkas, Zita
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Chick lit and postfeminism2013In: Studies in the novel, ISSN 0039-3827, E-ISSN 1934-1512, Vol. 45, no 2, p. 307-310Article, book review (Other academic)
  • 15.
    Fredriksson, Inger
    Umeå University, Faculty of Arts, Comparative Literature and Scandinavian Languages.
    Studier i Mikael Agricolas bibliska företal1985Doctoral thesis, monograph (Other academic)
    Abstract [en]

    A study has been undertaken of the biblical prefaces of Mikael Agricola. All the prefaces are based on those of Luther and/or translations of the same in the Swedish Bible of 1541 (GVB).

    The New Testament prefaces, like GVB, keep closely to the originals. There are however visual differences — in punctuation, capital letter usage and paragraphing. The literal translation makes the material very suitable for a study of Agricola's use of capital letters and punctuation in comparison with the Lutheran Bible and GVB. The material is too limited for any conclusions to be drawn about the principles underlying paragraphing.

    Agricola, like Luther (from 1539 onwards) and GVB, sometimes uses capital initial letters in the substantive designations of

    God and Christ

    the Holy Spirit

    the Bible and its books

    the Church and its sections

    occupations

    nationalities

    Adjectives relating to the above groups may also have capital initials. Personal pronouns relating to God or important persons may also be written with capital initials. Unlike the originals, Agricola's texts may also give prominence to other pronouns than the personal, to verbs, adverbs, numerals and intensifies.

    The punctuation corresponds partly with present usage: complete clauses are usually separated by punctuation marks. One basic difference is that in Agricola, Luther and GVB breathing pauses for reading aloud are indicated with commas or full stops. As Agricola stressed his utterances differently from his models, it follows that his punctuation differs from theirs.

    Agricola's prefaces to Old Testament writings are also based on Luther's, but only two of them are direct translations. Agricola's exclusions and additions have been studied. The former include many of the brief descriptions of contents in Luther's prefaces. The additions are interesting; sometimes Agricola does not accept Luther's brief biographical summaries about the authors of various biblical books, and uses instead Hieronymus' prefaces in Vulgata. He also refers to the old Jewish work on the human condition, Seder Olam. Agricola's longest preface, to the Psalms, is very much his own. A few pages are devoted to Agricola's summary of commentaries on the Psalms made by two Fathers of the Church — Augustinus Aurelius and Basilius the Great. Here Agricola makes generous use of the popular stylistic device of the time — amplification, an accumulation of more or less synonymous expressions for the same idea. Even in sentences directly translated from Luther and GVB, Agricola often extends the amplifications.

    Agricola's four rhyming prefaces are not based on any model at all. They were written in the Germanic doggerel metre, and have much in common with late mediaeval rhyming chronicles. Agricola's often drastic way of expressing himself makes delightful reading.

  • 16.
    Frängsmyr Svahn, Maria
    Umeå University, Faculty of Arts, Department of language studies.
    Kitty - Den Duktiga Flickan.: Diskursiva femininiteter i Kitty-böckerna.2018Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med uppsatsen är att undersöka vilka femininiteter de kvinnliga huvudkaraktärerna i Kittyböckerna uppvisar och om dessa skiljer sig åt mellan böckerna från 1960-talet och de från 2000-talet. Metoden som används är diskursteori och jag valde ut sex Kittyböcker som analyseras genom att identifiera viktiga tecken som diskurserna består av. Resultatet visar att fyra femininiteter formas tydligt i böckerna: Den Duktiga Flickan, Flicknormen, Hjältinnan och Pojkflickan. Den Duktiga Flickan utmärks bland annat genom nodalpunkten duktig, Flicknormen genom sin romantiska sida, Hjältinnan genom sitt ledarskap och Pojkflickan framträder genom sin pojkaktighet. Femininiteterna skiljer sig bara marginellt åt mellan 1960-talet och 2000-talet.

  • 17.
    Granqvist, Raoul J.
    Umeå University, Faculty of Arts, Department of language studies.
    Photojournalism's White Mythologies: Eliot Elisofon and LIFE in Africa, 1959-19612012In: Research in African Literatures, ISSN 0034-5210, E-ISSN 1527-2044, Vol. 43, no 3, p. 84-105Article in journal (Refereed)
    Abstract [en]

    This is a close study of the LIFE photo-essay "A Writer's Land of Primitive, Eloquent Beauty: Storied World of Africa" (1961) by Eliot Elisofon. His double-faced essay contains eighteen photos, which he took during an extended travel on the continent in September-December 1959, and fourteen literary extracts from the Western canon that accompany the visual material. I identify the socio-political context and the visual/literary conventions within which the photos were taken, explore the photo-essay's racist story-telling and panoptic and mythological viewing of Africa and allege, tentatively, the LIFE essay's duplicitous role in Cold War American politics of the time. The LIFE essay solidified time-worn mythological concepts of Africa championing them as pseudo-historical facts with particular regions as their strongholds. East Africa was depicted as Animal Eden; Apartheid's South Africa, as balanced Boer Freedom; Congo, as the Land of Savagery; West Africa, as Nakedness. The purpose of the LIFE essay, I demonstrate, was to trivialize and demonize the post-colonial process in Africa. Eliot Elisofon's 1959 travel contained three other projects, two of which (a coverage of "new" Nigeria and extensive aerial expeditions) were implicated in the same LIFE narrative of Cold War stewardship. I discuss these two only provisionally.

  • 18.
    Gregersdotter, Katarina
    Umeå University, Faculty of Arts, Modern Languages.
    Watching women, falling women: Power and dialogue in three novels by Margaret Atwood2003Doctoral thesis, monograph (Other academic)
    Abstract [en]

     

    This study examines the three novels

    Cat s Eye, The Robber Bride, and Alias Grace by Margaret Atwood. It focuses on the female characters and their relationships to each other: Their friendships are formed in a patriarchally structured environment and are therefore arenas for defending and controlling the norms of such a structure. The women continually watch each other and themselves, and through the power exercise of watching, femininity is constructed. Atwood describes acts of dialogic storytelling as a means to find options to gendered behavior.

  • 19.
    Guldbacke Lund, Linnéa
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Tystnaden: Makten, rösten och talet: En analys av tystnaden som kontrollinstrument i Vegetarianen och brun flicka drömmer2018Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Silence, voice and power are the main themes in this essay. The purpose is to analyze how the silence is used as an instrument for control, and how it can be used strategically to take power, but also as a resistance against the power. The novel The Vegetarian by Han Kang and the autobiography novel on verse, brown girl dreaming by Jacqueline Woodson are the core of this essay. This essay focuses on how the characters break the silence, and how they use the silence strategically to find their voice in a society that systematically works to keep women, children and men silent.

         The silence works in specific ways in all kinds of situations, to explore the complexity of the power dimensions a comparative analysis allows the themes to emerge and enlighten each other’s diversity. With help from Rebecca Solnit in Alla frågors moder, Audre Lorde in Your silence will not protect you and Michel Foucault’s Diskursens ordning, among other voices, the essay aims to search for how the silence can work as a strategy and what it means to speak. The essay shows how the oppressing silence is broken in brown girl dreaming, and how the voice becomes the power, but also how the silence was used in the African-American Civil Rights Movement as an act of resistance. The essays also analyze the female main character in The Vegetarian, who makes a journey from an oppressed woman where the patriarchal men violate her silence and forcing her to speak, to an existence where silence, life and growth thrives.

        The silence has its own language and sometimes, it’s louder than words. 

  • 20.
    Haake, Ragnar
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Prövningar2011In: Glänta, ISSN 1104-5205, no 3-4, p. 77-84Article in journal (Other academic)
  • 21.
    Hansson, Heidi
    Umeå University, Faculty of Arts, Department of language studies. Umeå University, Arctic Research Centre at Umeå University.
    Arctopias: the Arctic as No Place and New Place in fiction2015In: The new Arctic / [ed] Birgitta Evengård, Joan Nymand Larsen and Øyvind Paasche, Cham: Springer, 2015, p. 69-77Chapter in book (Refereed)
    Abstract [en]

    In fiction written from the outside, i. e., not by the indigenous population, an Arctic setting has long been used to emphasise the tough and heroic qualities of predominantly male main characters. The primary genres have been adventure stories and thrillers, with the region depicted as a natural rather than a social world. But there is also a counter-tradition where the Arctic is perceived as the route to or the place of an alternative world. Such utopian, or Arctopian works, appear in the nineteenth century when Arctic exploration maintained public interest and seem to reappear in the form of so-called cli-fi or climate fiction today. The works usually describe new forms of social organisation, and as a result, they contribute to changing persistent ideas about the Arctic as pristine nature. At the same time, genre characteristics rely on conventional ideas of the Arctic as empty space, which means that fantasies of the region continue to play a comparatively important role, despite increasing knowledge about actual conditions.

  • 22.
    Hansson, Heidi
    Umeå University, Faculty of Arts, Department of language studies.
    Battles in the Garden: Emily Lawless’s A Garden Diary 1899-1900 and the Boer War2016In: Women Writing War: Ireland 1880-1922 / [ed] Tina O’Toole, Gillian McIntosh and Muireann O’Cinnéide, Dublin: University College Dublin Press, 2016, p. 39-52Chapter in book (Refereed)
  • 23.
    Hansson, Heidi
    Umeå University, Faculty of Arts, Department of language studies. Umeå University, Arctic Research Centre at Umeå University.
    Book reviews; Gamle Norge and nineteenth-century British women travellers in Norway, by Kathryn Walchester, London and New York, Anthem Press, 2014, 223 pp., ISBN 978-1-7830-8365-7: This review is based on the e-book2015In: Journal of Tourism History, ISSN 1755-182X, E-ISSN 1755-1838, Vol. 7, no 1-2, p. 190-192Article, book review (Other academic)
  • 24.
    Hansson, Heidi
    Umeå University, Faculty of Arts, Department of language studies.
    Character, community and critical nostalgia: Love and Summer2013In: William Trevor: revaluations / [ed] Paul Delaney and Michael Parker, Manchester: Manchester University Press, 2013, p. 198-212Chapter in book (Refereed)
  • 25.
    Hansson, Heidi
    Umeå University, Faculty of Arts, Department of language studies.
    Emily Lawless and Botany as a Foreign Science2011In: Journal of Literature and Science, ISSN 1754-646X, Vol. 4, no 1, p. 59-73Article in journal (Refereed)
  • 26.
    Hansson, Heidi
    Umeå University, Faculty of Arts, Department of language studies.
    Emily Lawless and History as Story2015In: The Irish Short Story: Tradition and Trends / [ed] Elke D’hoker and Stephanie Eggermont, Oxford: Peter Lang Publishing Group, 2015, p. 61-81Chapter in book (Refereed)
  • 27.
    Hansson, Heidi
    Umeå University, Faculty of Arts, Department of language studies.
    Harriet Kramer Linkin (ed.), Selena, by Mary Tighe: A Scholarly Edition2015In: NIS: Nordic Irish Studies, ISSN 1602-124X, E-ISSN 2002-4517, ISSN ISSN 1602-124X, Vol. 14, p. 143-146Article, book review (Other academic)
  • 28.
    Hansson, Heidi
    Umeå University, Faculty of Arts, Department of language studies.
    Kinship: people and nature in Emily Lawless’s poetry2014In: Nordic Journal of English Studies, ISSN 1654-6970, E-ISSN 1654-6970, Vol. 13, no 2, p. 6-22Article in journal (Refereed)
    Abstract [en]

    In both her prose writing and her poetry the Irish writer Emily Lawless (1845-1913) considers a number of environmental subjects, from mothing and dredging for shellfish and mollusks to gardening and the decline of the Irish woodland. A recurrent theme in her poetry is the concern for threatened environment, but dystopian images are balanced by portrayals of landscape as a source of spiritual wisdom and healing. Lawless’s focus is often on more insignificant examples of the natural world such as moths, crustaceans or bog-cotton rather than more conventional representations of natural beauty. Lawless was a Darwinist, and several of her poems thematise the interaction between the human and the natural world, frequently reversing the power relationship between humans and natural phenomena. A re-contextualisation of her poetry within the framework of nineteenth-century natural history, Darwinism and early ecological thought brings to the fore her exploration of the connections between nature, self and national belonging

  • 29.
    Hansson, Heidi
    Umeå University, Faculty of Arts, Department of language studies.
    More than an Irish problem: Authority and Universality in Land-War Writing2014In: Fictions of the Irish Land War / [ed] Heidi Hansson and James H. Murphy, Oxford: Peter Lang Publishing Group, 2014, p. 107-126Chapter in book (Refereed)
  • 30.
    Hansson, Heidi
    Umeå University, Faculty of Arts, Department of language studies.
    Nature, education and liberty in The Book of Gilly by Emily Lawless2016In: Irish women's writing, 1878-1922 : advancing the cause of liberty / [ed] Anna Pilz and Whitney Standlee, Manchester: Manchester University Press, 2016, p. 49-64Chapter in book (Refereed)
  • 31.
    Hansson, Heidi
    Umeå University, Faculty of Arts, Department of language studies.
    P. G. Wodehouse och Punch som författarskola2016In: Spänning och nyfikenhet: Festskrift till Johan Svedjedal / [ed] Gunnel Furuland, Andreas Hedberg, Jerry Määttä, Petra Söderlund, Åsa Warnqvist, Halmstad: Gidlunds förlag, 2016, p. 170-185Chapter in book (Other academic)
  • 32.
    Hansson, Heidi
    Umeå University, Faculty of Arts, Department of language studies. Umeå University, Arctic Research Centre at Umeå University.
    Punch, Fun, Judy and the Polar Hero: Comedy, Gender and the British Arctic Expedition 1875-762012In: North and South: Essays on Gender, Race and Region / [ed] Christine DeVine and Mary Ann Wilson, Newcastle upon Tyne: Cambridge Scholars Publishing, 2012, p. 61-89Chapter in book (Refereed)
    Abstract [en]

    Narratives about the polar expeditions in the nineteenth and early twentieth century usually convey the ideal of heroic masculinity, with the Arctic imagined as a testing ground for heroes. There are, however, also counter-narratives where both the Arctic as a demanding landscape and the image of the conquering hero are questioned. Towards the end of the nineteenth century, commentary in the form of cartoons, jokes and verses in the English periodicals Punch, Fun and Judy sometimes present an alternative Arctic discourse where the region emerges as a mirror of metropolitan Europe and the polar hero as a bumpkin who just happens to stumble across the North Pole. The article discusses popular English responses to the British Arctic Expedition in 1875-76, particularly in relation to late nineteenth-century gender ideals.

  • 33.
    Hansson, Heidi
    Umeå University, Faculty of Arts, Department of language studies.
    Review of Claire Connolly, A Cultural History of the Irish Novel, Derek Hand, A History of the Irish Novel, James H. Murphy, Irish Novelists and the Victorian Age2013In: Nordic Irish Studies, ISSN 1602-124X, Vol. 12, p. 163-167Article, book review (Other academic)
  • 34.
    Hansson, Heidi
    Umeå University, Faculty of Arts, Department of language studies.
    Roads to Nowhere: the Famine as Place in Emily Lawless's Writing2015In: The Leaving of Ireland: Migration and Belonging in Irish Literature and Film / [ed] John Lynch and Katherina Dodou, Bern: Peter Lang AG, International Academic Publishers , 2015, p. 11-26Chapter in book (Refereed)
    Abstract [en]

    The chapter examines the work of Emily Lawless in realtion to the physical traces of the Great Famine in the Irish landscape. Exploring how the experience of trauma disrupts place and time, the chapter foregrounds how Lawless avoids the sentiments typical in literary characterization by shifting the narrative to a depersonalized landscape that bears the scars of catastrophe.

  • 35.
    Hansson, Heidi
    Umeå University, Faculty of Arts, Department of language studies. Umeå University, Arctic Research Centre at Umeå University.
    Staging the Arctic 1819-1909 and 20142015In: Nordlit, ISSN 0809-1668, E-ISSN 1503-2086, Vol. 35, p. 47-62Article in journal (Refereed)
    Abstract [en]

    Throughout the long nineteenth century and beyond, outside representations of the Arctic on stage have circulated a stereotypical image of the region. The two most long-standing emblems are ice and indigenous culture, and as commodity, the Arctic is identified as mystical, authentic, natural and pre-modern. These images are circulated in popular, cultural events like theatre performances, panoramic displays, music hall shows, and musical comedy but their presence in a popular cultural context also contributes to destabilise the signifiers. At the best, theatre productions about the Arctic may produce a kind of history from below, including a cautious critique of the colonial project and the ideal of heroic masculinity. Their radical potential should not be overstated, however, since the historical meanings of the stereotypes even when they are being debunked. At least on stage, conventional images of the Arctic continue to dominate.

  • 36.
    Hansson, Heidi
    Umeå University, Faculty of Arts, Department of language studies. Umeå University, Arctic Research Centre at Umeå University.
    The Arctic in literature and the popular imagination2018In: The Routledge handbook of the Polar Regions / [ed] Mark Nuttall, Torben R. Christensen, Martin J. Siegert, Abingdon and New York: Routledge, 2018, p. 45-56Chapter in book (Refereed)
  • 37.
    Hansson, Heidi
    et al.
    Umeå University, Faculty of Arts, Department of language studies.
    Murphy, James HDePaul University Chicago.
    Fictions of the Irish Land War2014Collection (editor) (Other academic)
    Abstract [en]

    The eruption of rural distress in Ireland and the foundation of the Land League in 1879 sparked a number of novels, stories and plays forming an immediate response to what became known as the Irish land war. These works form a literary genre of their own and illuminate both the historical events themselves and the material conditions of reading and writing in late nineteenth-century Ireland. Divisions into 'us' and 'them' were convenient for political reasons, but the fiction of the period frequently modifies this alignment and draws attention to the complexity of the land problem. This collection includes studies of canonical land war novels, publication channels, collaborations between artists and authors, literary conventions and the interplay between personal experience and literary output. It also includes unique resources such as a reprinted letter by the author Mary Anne Sadlier and a reproduction of Rosa Mulholland's little-known play Our Boycotting. The book concludes with a detailed bibliography of land war fiction between 1879 and 1916, which should inspire further reading and research into the genre.

  • 38.
    Hansson, Heidi
    et al.
    Umeå University, Faculty of Arts, Department of language studies.
    Murphy, James H
    DePaul University Chicago.
    Introduction to Rosa Mulholland, Our Boycotting: A Miniature Comedy2014In: Fictions of the Irish Land War / [ed] Heidi Hansson and James H. Murphy, Oxford: Peter Lang Publishing Group, 2014, p. 183-188Chapter in book (Refereed)
  • 39.
    Hansson, Heidi
    et al.
    Umeå University, Faculty of Arts, Department of language studies.
    Norberg, Cathrine
    Luleå tekniska universitet.
    Lady Audley's secret, gender and the representation of emotions2013In: Women's Writing, ISSN 0969-9082, E-ISSN 1747-5848, Vol. 20, no 4, p. 441-457Article in journal (Refereed)
    Abstract [en]

    The relation between gender, emotion and normative ideals is a prominent theme in British sensation fiction of the 1860s, and a central concern in Mary Elizabeth Braddon’s novel Lady Audley’s Secret (1862). But despite critical assent concerning the importance of emotions in the text, there are no focused studies of their meaning and narrative function. This study explores how representations of anger and shame convey gender specificity and how the way characters express and perform emotions interplay with constructions of social power in the novel. Braddon’s work contains more examples of women than men exhibiting signs of anger and more instances of men than women showing shame which means that anger might be understood as female and shame as a male quality in the text. The contexts where these emotions occur indicate the opposite, however. Women displaying anger are shown to transgress gendered conduct codes, whereas men mostly experience shame because of women’s misbehaviour and as their guardians. Although the distribution of instances when male and female characters show anger or shame could initially be understood as a manifestation of the disruptive qualities of the sensation genre, such an interpretation is undermined by the gendered relations between emotional expression, power and control in the novel.

  • 40.
    Hansson, Heidi
    et al.
    Umeå University, Faculty of Arts, Department of language studies.
    Norberg, Cathrine
    Storms of tears: Emotion metaphors and the construction of gender in East Lynne2012In: Orbis Litterarum, ISSN 0105-7510, E-ISSN 1600-0730, Vol. 67, no 2, p. 154-170Article in journal (Refereed)
    Abstract [en]

    Despite the fact that the consequences of emotional actions are a central theme in British nineteenth-century sensation fiction, studies of the genre have generally focused on thrilling and socially disruptive elements of the genre. Attention to descriptions of transgressive behaviour and in particular women’s violations of patriarchal norms has enabled interpretations that endow the genre with a feminist agenda. Reading the novels with a focus on how emotions are represented, however, demonstrates an underlying patriarchal pattern that limits the potential for feminist interpretations. This article focuses on the clusters of metaphors used to express emotion in Ellen Wood’s sensation novel East Lynne(1861–1862). Close readings of text examples in combination with analyses of metaphorical expressions highlight the novel’s ideological ambiguities and ambivalences concerning gender and emotion.

  • 41.
    Hauber, Agneta
    Umeå University, Faculty of Arts, Department of language studies.
    Einsame Worte vom Rand der Welt: Melitta Urbancic - Eine Analyse ihrer Lyrik2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Abstract

     

    2014 utgavs postumt en liten tvåspråkig (isländsk-tysk) diktsamling ”Vom Rand der Welt” av Melitta Urbancic (1902-1984), en österrikisk judinna som 1938 flydde i exil till Island. I mitt arbete undersöker jag vilka språkliga och formella medel Melitta Urbancic använder i sin lyrik och vilka ämne hon tar upp. Dessutom undersöker jag i vilken grupp av exillyrik Melitta Urbancics diktband kan inordnas. För att kunna göra detta analyserar och interpreterar jag dikterna in samlingen med texten som huvudsaklig utgångspunkt men även med författarinnans biografi i tankarna. Jag använder mig av den indelning av exillyrik, som Emmerich utarbetat i sin ”Lyrik des Exils”. Min undersökning visar att Melitta Urbancics lyrik bibehållit en bunden, strofisk och rimmad form. Såsom språkliga medel använder författarinnan förutom olika klangliga och rytmiska  grepp gärna ett varierat bildspråk. De behandlade ämnena t.ex. språkförlust och främmandeskap kan inordnas i den kategori, som behandlar exilen såsom sådan.

  • 42.
    Heitmann, Annegret
    Ludwig-Maximilians-Universität, München, Germany.
    „[A]lles öde und kahl, und somit echt isländisch.“: Ein Reisebericht aus dem Jahr 1846 oder die Anfänge des Island-Tourismus2011In: Journal of Northern Studies, ISSN 1654-5915, Vol. 5, no 1, p. 39-56Article in journal (Refereed)
    Abstract [de]

    Der Artikel stellt einen Reisebericht der Österreicherin Ida Pfeiffer in den Mittelpunkt, die im Jahr 1845 Island besuchte. Da Tourismus als ein Phänomen und Charakteristikum der Moderne gilt, lädt Pfeiffers Islandreise zu Fragen bezüglich der Anfänge touristischen und einer möglichen Authentizität frühmodernen Reisens ein. Der Authentizitätsbegriff, der heute oft im Zentrum neuer Tourismusforschung steht, stellt einen Einfallswinkel für die Analyse dar. Während die Autorin selbst die Ursprünglichkeit des Landes und die Echtheit ihres Erlebens hervorhebt, wird deutlich, dass sie eben diese Authentizität durch bestimmte Inszenierungsverfahren hervorbringt. So ist es nicht erstaunlich, dass – wie eine zeitgenössische Karikatur belegt – die Autorin schon in der Mitte des 19. Jh. in einen Tourismusdiskurs eingeschrieben wird.

  • 43. Heitmann, Annegret
    Zwischen zwei Welten: Aspekte der Mobilitat in J.A. Friis´ and G. Schneevoigts Lajla2014In: Journal of Northern Studies, ISSN 1654-5915, Vol. 8, no 2, p. 71-87Article in journal (Refereed)
    Abstract [de]

    Einer der bekanntesten Texte über das Leben der Samen ist Jens Andreas Friis’ norwegischer Roman Lajla aus dem Jahr 1881. Sein Status als Klassiker wurde durch zwei Verfilmungen von Georg Schnéevoigt (Stummfilm von 1929 und Tonfilm von 1937) untermauert. Während es die Intention des Autors war, in unterhaltsamer Form ethnographische Informationen über das Leben der Samen zu vermitteln, wurde der Roman vor allem als eine romantische Liebesgeschichte über das einfache Leben in der Finnmark rezipiert. Der folgende Aufsatz beleuchtet den Handlungsgang um das „vertauschte Kind“ neu, indem er verschiedene Aspekte der Mobilität ins Zentrum stellt: des Textes selbst, des Mediums Film und vor allem der Konzeption der Ethnizität, die durch Betonung von Mobilität ihre dichotomische Starrheit verliert.

  • 44.
    Härgestam Strandberg, Hilda
    Umeå University, Faculty of Arts, Department of language studies.
    Articulable Humanity: Narrative Ethics in Nuruddin Farah's Trilogies2016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This study explores the multiple ethical dimensions of the nine novels published between 1979 and 2011 that together constitute Nuruddin Farah’s three trilogies Variations on the Theme of an African Dictatorship, including Sweet and Sour Milk (1979), Sardines (1981), and Close Sesame (1983); Blood in the Sun, including Maps (1986), Gifts (1993), and Secrets (1998); and Past Imperfect, including Links (2003), Knots (2007), and Crossbones (2011). For all that separate these trilogies and novels thematically and stylistically, they are remarkably consistent in their enquiry. While firmly rooted in the geo-political particulars of Somalia, these novels stage human experience in ways that cut across time and place, inviting the reader to ponder a plethora of questions of profoundly ethical import: How can one remain human in the face of extreme adversities? How can one resist oppression in all its forms without becoming a perpetrator of that which one seeks to resist? What role may violence or non-violence have in seeking to see justice done? How far does responsibility for the other reach? How may dehumanizing forces be resisted in ways that preserve and even restore human dignity?

    By privileging the ethical in Farah’s ethico-political writing, the study draws attention to voices and perspectives that have gone unnoticed in previous readings, where political perspectives have dominated. Not only does a sustained analytical focus on how human dignity is valued, protected, preserved and even restored call for re-assessments of concepts such as ‘freedom,’ ‘resistance,’ and ‘moral responsibility.’ but the thesis’ highly text-centered approach has in the process of writing proved that Farah’s trilogies generate questions that demand a fuller exploration than what has hitherto been possible with a more limited emphasis on themes and narrative strategies. The use of a model in which five ‘ethical moments’ are explored thus allows for more extensive conclusions to be drawn, both regarding the ethics emerging in the trilogies themselves (‘ethics of the told,’ ‘ethics of telling’ and ‘ethics of writing’), in reading practices and critical reception (‘ethics of reading’), and my own research practice (‘ethics of method’).

    Ultimately, the study’s explorations of themes, narrative strategies, author’s responsibilities and critical response elucidate how Farah’s trilogies escape any narrow definition of what (African) (postcolonial) literature is or should be. By privileging the ethical trajectory – without losing sight of the strong political impetus of Farah’s writing – significant stories and perspectives surface that are no less political in their outlook than more conventional readings of “resistance writing.”

    By drawing on continental philosophy (Lévinas, Cavarero and Butler), narrative theory and postcolonial studies, this study brings fresh perspectives to bear on both familiar and less well-known material, while also contributing to new methodological frameworks within narrative ethics and new theoretical perspectives within narrative theory, not least as reflected in the final chapter’s discussion of imaginative challenges.

  • 45.
    Johansson, Anders
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Hans skrik hörs ända från förorten: hyllade Yahya Hassans versala poesiattack kan läsas på tre sätt2014In: Aftonbladet, ISSN 1103-9000Article in journal (Other (popular science, discussion, etc.))
  • 46.
    Karlsson, Anna
    Umeå University, Faculty of Arts, Department of language studies.
    El hombre blanco de piel negra: Los ideales y estructuras coloniales en Herencia de bindendee de Trifonia Melibea Obono Ntutumu Obono2018Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [es]

    Vivimos en un mundo poscolonial pero las estructuras antiguas sique siendo presentes, especialmente en continentes como África y en países como Guinea Ecuatorial, una antigua colonia española en África. El objetivo con nuestro estudio es analizar los ideales coloniales en la novela Herencia de bindendee de Trifonia Melibea Obono Ntutumu Obono con un enfoco en el racismo y como la autora ha retratado la situación poscolonial en Guinea Ecuatorial. Intentamos destacar ejemplos de personajes, objetos o acciones que funcionan como señales de inferioridad o superioridad de los personajes según teorías de Frantz Fanon y Homi K. Bhabha. Además, presentamos ejemplos de crítica de estas ideales y estereotipos que las teorías no explican. La conclusión es que la obra muestra ejemplos de tanto un mundo fiel a la época colonial como un mundo de rebelión.

  • 47.
    Karlsson, Anna
    Umeå University, Faculty of Arts, Department of language studies.
    El hombre blanco de piel negra: Los ideales y estructuras coloniales en Herencia de bindendee de Trifonia Melibea Obono Ntutumu Obono2018Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Vi bor i en postkolonial värld men de gamla strukturerna är fortfarande närmarande, speciellt på kontinenter som Afrika och i länder som Ekvatorial Guinea, en tidigare spansk koloni i Afrika. Syftet med vår studie är att analysera de koloniala idealen i romanen Herencia de bindendee av Trifonia Melibea Obono Ntutunu Obono med fokus på rasismen och hur författareb beskriver den postkoloniala situationen i Ekvatorial Afrika. Vi belyser exempel på karaktärer, föremål och handlingar som fungerar som tecken på mindrevärde och överlägsenhet enligt teorier av Frantz Fanon och Homi K. Bhabha. Dessutom presenterar vi några exemplel på kritik av de ideal och stereotyper som förekommer i romanen och som de nämnda teorierna inte förklarar fullt ut. Slutsatsen är att romanen visar på värld troden den koloniala epoken och en värld av uppror. 

  • 48.
    Karlsson, Linnea
    Umeå University, Faculty of Arts, Department of language studies.
    L'amica geniale: Un discorso di genere2019Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay is a study of a novel from a gender perspective with the aim of highlighting how society shapes women and men into different roles. The novel takes place in Italy between 1940 and 1960 and in the essay  I also study whether the author´s description of society is in accordance with historical reality. To narrow the study down I have chosen to focus on education, family and women’s roles in society. In the first part of the essay I have studied statistics, documentaries and other sources, which I compared with the content of the novel. This confirms my hypothesis that Elena Ferrante’s story is an accurate portrait of the society of that time. The second part of the essay is studying L’amica geniale from a gender perspective. I have used a feminist approach basing it on Yvonne Hirdman’s theories of the gender system. The result of the study reveals that girls and boys are treated differently from a very young age and are given different roles and different spaces in society. Arguments for the biological difference between women and men are constantly present in the novel. For the two main characters, the possibility to study changes their lives in different ways and has long-term consequences. The text and its analysis show how only when people refuse the given roles and rebel against them, they are able to change them. 

  • 49.
    Kjersén Edman, Lena
    Umeå University, Faculty of Arts, Comparative Literature and Scandinavian Languages.
    Fler systrar: kvinnliga författare från 1900-tal till 2000-tal2004Book (Other academic)
  • 50.
    Kjersén Edman, Lena
    Umeå University, Faculty of Arts, Litteraturvetenskapliga institutionen.
    I ungdomsrevoltens tid: svensk ungdomsbok och dess mottagande åren kring 19681990Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation consists of three parts: the fourth chapter in my book Fotboll och frihet«. Studier i Max Lundgrens författarskap (Football and Freedom. Studies in Max Lundgren's Authorship), 1987, and the two studies that this volume contains: En undersökning av tillvaron. Gunnel Beckman's ungdomsroman Tillträde till festen (An analysis of existence. Gunnel Beckmans novel for young people, Tillträde till festen /Admission to the Feast/) and Barnbokskritik i förvandling. Debatt om litteratur och ungdomsläsning 1966-1970 (The transformation of children's literature reviews. The debate concerning literature and young people's reading 1966-1970). The time of the youth revolt, the late 1960s, with the year 1968 as an almost mythical period, is portrayed as part of an explanatory model for the three studies.

    In 1968, Max Lundgren received the Nils Holgersson Plaque for his books for young people Pojken med guldbyxorna (The Boy With the Golden Trou­sers) and Åshöjdens bollklubb (Åshöjden Football Club). I show through my interpretations of the above mentioned and Max Lundgren's other books of this time, that the texts hold an existential concept of freedom; life is not totally determined, man has a certain amount of choice.

    Through my interpretation of Gunnel Beckman's well-known youth novel from 1969, Tillträde till festen (Admission to the Feast) I show how the content of the story changes, in the same way as in the work of Max Lundgren, from that of the fear of death to that of the conditions and possibilities of existence.

    The late 1960s can be described as a golden age for Swedish literature aimed at young people thanks to Max Lundgren, Gunnel Beckman, and other authors like Hans Eric Hellberg and Sven Wernström. The debate centered a- round children's literature was at this time affected by the ideologies that were prevalent, but the critics of children's literature also showed a con­tinuous interest in aesthetic and educational aspects.

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