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| 2. |
- Hansson, Petra, et al.
(författare)
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Listening for “Rosengård Swedish”
- 2004
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Ingår i: Proceedings FONETIK 2004. - Stockholm : Institutionen för lingvistik, Stockholms universite. - 9172659017 ; , s. 24-27, s. 24-27
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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| 3. |
- Håkansson, Gisela
(författare)
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Tense morphology and verb-second in Swedish L1 children, L2 children and children with SLI
- 2001
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Ingår i: Bilingualism. - Cambridge : Cambridge University Press. - 1366-7289 .- 1469-1841. ; 4:1, s. 85-99
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Tidskriftsartikel (refereegranskat)abstract
- This paper compares the development of tense morphology and verb-second in different learner populations. Three groups of Swedish pre-school children are investigated longitudinally; ten L1 children, ten L2 children and ten children diagnosed with Specific Language Impairment (SLI). Data was collected twice, with an interval of six months. The results at Time I reveal a significant difference between normally developing L1 children on the one hand and L2 children and children with SLI on the other. The L1 children use verb-second correctly in topicalized declaratives, whereas both L2 children and children with SLI use structures with the verb in third position (XSV structures) as an intermediate step towards verb-second. There is a clear development between the two data collection sessions for the L2 children and the children with SLI, diminishing the difference between them and the unimpaired L1 children. The similarity that is found between L2 children and children with SLI in this study bears important implications for the discussion of the role of transfer in L2 research and for the question of a defective linguistic representation in SLI research.
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| 4. |
- Levin, Magnus
(författare)
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Agreement with Collective Nouns in English
- 2001
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis concerns agreement with collective nouns in American, British and Australian English. It is based on material from newspaper corpora and spoken corpora. The findings suggest that dialectal, stylistic, diachronic, syntactic and semantic factors interact in the selection of singular and plural agreement. It was shown that there are differences between regional varieties, between speech and writing and between written and spoken genres. Syntactic influence on agreement was seen in the increased likelihood of plural agreement with increased distance between the noun (the controller) and its agreement-carrying words (the targets). This was observed both in the number of intervening words between a controller and its targets and in the difference between verbs, which are fairly close to their controllers, and pronouns. This trend was found in both speech and writing. These findings suggest that targets acquire more independence of the form of their controllers the further away they are. Semantic factors were also found to be important in British English. The noun itself plays a crucial role in the choice of agreement. A noun such as 'government' very rarely takes singular verb agreement, whereas 'family' takes either singular or plural agreement, and 'couple' generally prefers the plural. A few verbs were found to require singular agreement with collective nouns (e.g. 'consist', 'be set up', 'increase'), but other verb categories (e.g. 'think', 'say', 'work') were not found to influence agreement decisively. These and other features described indicate that a wide range of functional factors influence variation in agreement patterns.
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| 5. |
- Nilson, Maria
(författare)
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Att förhålla sig till moderniteten : en studie i Gertrud Liljas författarskap
- 2003
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this thesis is to present and discuss the author Gertrud Lilja with a special focus on her relationship to modernity from a feminist perspective. In the 1920s Lilja was regarded as an interesting and promising author. Ten years later she was seen as a conservative and popular author who wrote mainly for women. As this is the first published thesis that discusses Gertrud Lilja it focuses both on her life, her financial situation and her relationship with her publishers in order to be able to discuss Lilja’s place on the Swedish literary field and on her texts, as I give alternative readings of her novels. Discussing Lilja’s place on the Swedish literary field Pierre Bourdieus theory of cultural capital and habitus are important tools. Lilja made her debut in the 1920s and had then, despite her lack of formal education, despite her rural background and despite her gender, a rather strong cultural capital and was both well received by contemporary critics and was well looked after by her publishers. In the years that followed Lilja lost a great deal of her capital. Her publishers wanted her to write less complicated novels for women, she needed money and wrote a number of short stories for magazines, and the field in itself changed as modernism began grow stronger. Lilja’s text were seen more and more as old fashioned and conservative and she was seen as a popular writer and an uninteresting one. I argue that Gertrud Lilja should be seen as a middlebrow author, a realistic author that has popular elements in her texts. Middlebrow has always been problematic and shunned by many critics and read as simply popular literature. Being a middlebrow author makes is difficult to be taken seriously and Lilja’s critique of her contemporary society and her rather radical critique of a patriarchal religion has not been addressed. Discussing modernity from a feminist perspective and questioning the idea of what it is to be modern, who can be modern and what it means to be conservative, I argue that simply saying that Lilja was a conservative author is not enough. In some ways she gives in her texts a rather harsh criticism of the new and modern society that grow stronger during the 1930-40s, but she also in some ways embraces modernity in her critique of the “good old days” and of the patriarchal religion. Reading Lilja’s texts in dialogue with , for example, the ongoing discussion of women’s new role in society, of sexuality, of religion, images of God and the need for a new kind of church I argue that Lilja shows a great deal of ambivalence towards modernity.
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| 6. |
- Nilsson, Magnus
(författare)
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Mångtydigheternas klarhet. Om ironier hos Torgny Lindgren från Skolbagateller till Hummelhonung
- 2004
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis addresses the work of the Swedish author, Torgny Lindgren (born 1938). Its main focus lies on the all-pervading irony in his work. The use of irony is seen as a unifying trait in Lindgren’s authorship. The development of more complex ironies during the years of his authorship is seen as an effect of his authorship’s thematic development, moving from political satire to existential, ethical and religious matters. The first chapter provides a short presentation of Lindgren’s life and work, and is followed by an extensive theoretical section that is concerned with the interpretation of irony. The interpretational model that is argued for in the thesis states that instances of irony are not apprehended as irony until they are interpreted as such. However, it is also argued that an author is able to trigger this type of interpretation by employing certain textual and contextual stimuli that are socially and culturally determined, thereby signalling that an interpretation of irony is to be inferred. The next five chapters consist of close analyses of the novels that Lindgren published between 1972 and 1995. Here it is shown how Lindgren moves from a pessimistic view of life in his early novels, via a trust in the mercy of God, to a mystical view of God; God as the unification of incompatibilities. It is also shown that, from his public breakthrough in 1982 and on, Lindgren delves deeply into religious questions and the irony of human existence. From this point onwards, Lindgren’s typical “poetics of ambiguity” (such that it is labelled in the thesis) becomes a predominant factor in his work. The most salient feature of this poetics is how Lindgren constantly exploits a movement between opposed positions. He does this in order to show that the answer one can obtain with respect to Life’s existential questions can only be formulated as some unspeakable thirdness that comes forth only in a dialectic play between extremes. It is also pointed out in the thesis that the predominant metafictional themes in Lindgren’s work have an existential significance. In addition to the analysis of how Lindgren employs many different kinds of ironies in order to express his view of the world, his novels are also compared with the thoughts of several significant European philosophers, including Böhme, Spinoza, Schlegel, Kierkegaard and Schopenhauer. It is shown, however, that the thoughts of these thinkers are not completely accepted by Lindgren since it is concluded in the final chapter that Lindgren is engaged in a constant critical discussion of the thoughts of these (and other) thinkers in order to express an ironic view of the world; a world where everything is all things, everywhere, at the same time.
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| 7. |
- Waldmann, Christian, et al.
(författare)
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Inte ens en gång : En tautologisk talspråkskonstruktion
- 2003
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Ingår i: HumaNetten. - Växjö : Institutionen för humaniora, Växjö universitet. - 1403-2279. ; :13
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- I sydsvenskt talspråk används ofta den tautologiska konstruktionstypen ens en gång i stället för ens för att uttrycka emfas i förbindelse med negation. Det negativa polaritetsordet ens har tidigare undersökts i förbindelse med negationen inte (Waldmann 2002). Det visar sig i den studien att realisationen kan beskrivas utifrån Chomsky (1999).I de sydsvenska dialekterna verkar däremot konstruktionen ens en gång vara en regionalmotsvarighet till ens och tillika den vanligast förekommande konstruktionstypen i äldres kånska dialekter (Isaksson 2002). Excerpter ur dialektsamlingarna i Dialekt- och Ortnamnsarkivet i Lund (DAL) och SOFI Dialektavdelningen i Uppsala (DA) visar 6 belägg på inte ens en gång i Skåne, 2 i västra Blekinge och 1 i södra Halland. Men konstruktionen kan givetvis finnas i andra dialektområden utan att vara belagd i dialektarkiv (jfr Eaker 2002). I denna studie behandlas konstruktionen ens en gång när den förekommer tillsammans med satsnegationen.
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| 8. |
- Åberg, Anders
(författare)
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Tabu : Filmaren Vilgot Sjöman
- 2001
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis is a thematic and historical analysis of of Sjöman’s œuvre and its significance for Swedish film culture, focussing on his most important films during the 1960s and 1970s. Sjöman started as a novelist in the late 1940s, and has since then accomplished an œuvre consisting of some 60 works, mostly novels, plays, essays, and films. Sjöman is best known as a film director. In 1962, Sjöman’s first film, Älskarinnan (The Mistress), opened to great acclaim. Sjöman was greeted as the instigator of a new wave of Swedish cinema, comparable to the French Nouvelle vague and post-war Italian cinema. Other Swedish author-directors followed Sjöman’s lead. Through the debate on censorship inspired by the official banning of Sjöman’s film 491, Sjöman became known as a serious, but utterly controversial film-maker, treating sexual matters in a provocative and explicit manner. His international fame rests mainly on the diptych film, Jag är nyfiken – gul (I Am Curious – Yellow), and Jag är nyfiken – blå (I Am Curious – blue), from 1967 and 1968 respectively. Sjöman here launched a kind of cinéma vérité-aesthetic, combined with a self-reflexive cinematic discourse verging on self-parody. At the end of the 1960s and in the 1970s, Sjöman struggled to find his proper place in the politicised cultural climate. The title of this thesis is derived from a film released in 1977, Tabu (Taboo). The film was scandalous, its allegory of leftist political activism deemed unacceptable. After Tabu, Sjöman never really recovered as a director. His films tended to be unattractive for the general audience, and, as opposed to his earlier work, they have had no real impact on the discourses of Swedish contemporary cinema and culture in general.
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