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Sökning: AMNE:(HUMANIORA Språk och litteratur) > Doktorsavhandling

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1.
  • Andersson, Hans, 1981- (författare)
  • Något betydelsefullt : Leonid Dobyčins möten bortom orden i den sovjetiska samtiden
  • 2019
  • Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
    • This thesis studies the 1931 short story collection Portret [The Portrait] by the Russian author Leonid Ivanovich Dobychin (1894–1936?). My main argument is that the principal theme in Dobychin’s writings arises out of the complexities of human encounters. My approach is based on affirmative interpretations that I call “encountering” readings. They draw on critical practices developed by Boris Gasparov, who argues in his 2013 study of Pasternak Boris Pasternak: Po tu storonu poėtiki (Filosofiia. Muzyka. Byt) that the key to Pasternak’s work lies not in the dominant feature of their linguistic texture, but in the momentary states of everyday life that the author captures, and Henri Meschonnic’s Critique du rythme: Anthropologie historique du langage (1982). Meschonnic focuses on rhythm as an intrinsic aspect of the text that requires the reader to participate actively in appreciating the text as a work of art by following the interplay between rhythm, the active subject and what is expressed. Both scholars reflect a turn away from the linguistically informed theoretical approaches that dominated the academic study of literature in the twentieth century. Similarly, I approach Dobychin’s characters on the level of their personal conflicts and everyday lives by simulating an interpersonal encounter in an anti-theoretical search for meaning that is congenial to both the central theme of the stories and the way in which they reveal human encounters “beyond words,” as it were, both within the works and with the reader, through suggestive associations and not yet categorized, “precategorial” experiences in everyday life. The “unoutspokenness” (nedogovorënnost’)—i.e. reticence, a deliberate avoidance of explicitness that Dobychin’s contemporary critics ascribed to his writings and often disparaged as “incomprehensibility”—serves as a starting point for a critical discussion of both earlier research on Dobychin and theoretical approaches to literature more generally. In searching for a dominant formal feature, a ‘key’ or ‘code’, in Dobychin’s writings, earlier scholars have tended to describe it in terms of an anti-aesthetic. The alleged lack of plot, inner coherence and meaning is explained as deliberate, intended to performatively mirror the absurdness and inadequacies, the disorientation and loss of meaning in Soviet reality itself. In this thesis, I argue instead that there is no such lack or incoherence in Dobychin’s works. The “nedogovorënnost’” of his short stories is instead understood as an exact and purposeful way of conveying meaning through what is experienced and shared beyond words in a time that was overburdened with idealistic ideological discourses. At the heart of Dobychin’s stories are moments of fragile human interaction that underlie trivial dialogues and actions in banal everyday existence. The stories let the reader experience the sudden and unexpected human connections that the characters encounter in their everyday impressions. The contrasts and plurality of human perspectives thus perceived evoke a potential interaction beyond societal roles. These brief encounters are presented as something precarious in a Soviet society striving towards a single true ideology. Such a reading suggests that Dobychin is not so much a deliberately enigmatic author as a writer who aspires to express in words that which is profoundly wordless: the encounters between people outside of the ideological categories and discourses of their language.
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2.
  • Axelsson, Marcus, 1979- (författare)
  • ”Kalla mig inte mamsell!” : En jämförelse av tre skandinaviska översättares behandling av kulturspecifika element i fransk- och engelskspråkig skönlitteratur
  • 2016
  • Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
    • The present study deals with the work and practice of three Scandinavian translators, namely Kjell Olaf Jensen (Norwegian), Marianne Öjerskog (Swedish) and Agnete Dorph Stjernfelt (Danish). The main question of the thesis is what strategies the translators use when translating culture-specific elements from French and English. Theoretically the thesis positions itself within the framework of Descriptive Translation Studies and draws upon system theories as well as Pierre Bourdieu’s sociology of culture. The method consists of a source text – target text analysis, using a somewhat modified version of Pedersen’s (2007) method identifying seven translation strategies, namely (1) retention, (2) specification, (3) direct translation, (4) generalization, (5) substitution, (6) omission and (7) official equivalent. In this thesis the three former and the official equivalent are categorized as “adequate”, whereas generalization, substitution and omission are categorized as “acceptable” using Toury’s (2012) terminology. Six different types of culture-specific elements are investigated, namely (1) titles, address and professional titles, (2) currencies, (3) weights and measures, (4) literature and music, (5) education, and (6) names. In addition to this analysis, interviews with the three translators were carried out. Results show that there are both similarities and dissimilarities in the translators’ choices of translation strategies. It also turns out that the strategies used to a great extent depend on the culture-specific element in question and hardly ever on the source language. Results also suggest that the higher the translators’ amount of accumulated total capital, the more likely it is that they adopt a heterodoxic translation strategy. Jensen and Stjernfelt are more often positioned at one of the two extremes of the adequacy–acceptability axis than is the case for Öjerskog. Moreover, results from the interviews and the text analyses show that there are a number of norms that govern the translators’ practices. The translatorial practice is to manoeuver in a field governed by norms in order to produce the best possible target texts – target texts that are true to the original and conform to domestic literary standards.
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3.
  • Persson, Rasmus (författare)
  • Ressources linguistiques pour la gestion de l’intersubjectivité dans la parole en interaction : Analyses conversationnelles et phonétiques
  • 2014
  • Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
    • This dissertation deals with conversational practices through which interactants manage issues of intersubjectivity, i.e. mutual understanding for all practical purposes. Intersubjectivity is understood in a procedural sense, and as built into the infrastructure of interaction, where each next action embodies aspects of how the previous action was understood. This understanding can be inspected by others, and amended where deemed appropriate. Largely, mutual understanding is thus taken for granted and tacitly assumed. However, at times interactants do pay overt attention to managing understandings, and this thesis focuses on three such cases. The analyses are couched in the framework of conversation analysis (CA), which aims to uncover how participants produce recognizable social actions by means of generic but flexible conversational practices. These practices draw on linguistic resources and other conduct, as well as the sequential position in which the practice is located. The approach taken in this thesis is also characterized by its attention to phonetic detail (including prosodic, articulatory and phonatory aspects of talk) as a resource for action. Each of the three empirical chapters deals with a particular phenomenon involved in managing intersubjectivity in French talk-in-interaction. The first is concerned with formulations, a way of drawing out the gist of what the interlocutor has just said. These may be used to solicit either mere or elaborate confirmations. The second investigates "ah"-prefaced other-repeats, which acknowledge receipt and claim a renewed understanding, while indexing a previous action as inadequate. The third concentrates on mere other-repeats, and demonstrates that they may either indicate a breakdown in intersubjectivity, or display uptake and thus maintained intersubjectivity. One of the main findings is that phonetic design is pivotal in specifying the action conveyed by the practices examined, and thus constitutes an integral part of the practices. The results show that the phonetic design of a turn at talk does not straightforwardly map to intersubjective meaning, but is inextricably linked to action and sequential organization.
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4.
  • Christensen, Henrik, 1984- (författare)
  • We Call upon the Author : Contemporary Biofiction and Fyodor Dostoevsky
  • 2021
  • Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
    • This thesis studies fictional representations of Fyodor Dostoevsky in contemporary biofiction. The aim of the study is to present an intermedial theoretical framework for biofiction, a genre defined as fictional biographical and often metafictional narratives in which a biographical subject serves as the focal point for the story or plays a role integral to the narrative. Drawing on contributions from prior studies within different areas—biopics, the biographical novel, intermediality, transmedial narratology—the thesis identifies the most salient tenets of an increasingly important and ubiquitous genre—its fictional, intermedial, and metafictional properties—to suggest a medium-spanning definition. From this intermedial definition of the genre, it is suggested that biofiction studies should move beyond medium-specific analysis. By situating the genre firmly within the realm of fiction, the thesis underlines the fact that it is exactly the fictional element that allows the genre to open up important ways to engage with a certain biographical subject. Overall, the biofiction definition presented in the thesis is inspired by Jacques Derrida’s différance.Arguing that contemporary biofiction arose from the larger aporetic shift in theory and fiction in the 1960s, which was directed toward various presuppositions undergirding epistemological, metaphysical, and ontological projects, it is contended that biofiction fictionalizes subjects to engage with and reassess the assumptions that suffuse our understanding of the subject. From their metafictional perspective, biofictions also employ subjects for various purposes to interrogate contemporary issues. Biofictions are thus turned toward both a historical moment and its own contemporary context. Buttressed by the intermedial perspective, it is argued that biofictions often employ sustained intermedial strategies—for instance, intermedial references and formal imitation—to engage not only with artistic subjects such as Dostoevsky and their work but also with the premises of creating art.The thesis centers on five Dostoevsky biofictions within film and literature: Aleksandr Zarkhi’s biopic Twenty-Six Days from the Life of Dostoevsky (1980), Leonid Tsypkin’s novel Summer in Baden-Baden (1982), J. M. Coetzee’s novel The Master of Petersburg (1994), Lara Vapnyar’s novel Memoirs of a Muse (2006), and Vladimir Khotinenko’s television series Dostoevsky (2010). As contemporary biofictions, these fictional representations of Dostoevsky were all produced or written in the wake of the aforementioned aporetic shift and therefore comprise examples of the reflexive and metacritical form of biofiction that is discussed in the thesis. The inclusion of Dostoevsky biofictions is, in part, connected with the various critical perceptions of the writer; it is maintained that biofictions such as those analyzed in the thesis proffer new readings of issues that have been overlooked or have not received due attention, such as how Dostoevsky engaged with and augmented the rivalry polemics of his day; the ways in which his conceptualization of Russian identity rested as much on inclusion as exclusion; how Dostoevsky has been employed to propagate certain models of the muse, the genius, and canonicity; and how, in today’s Russia, the writer is employed to embody and express the hyperreal politics of Vladimir Putin’s administration.
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5.
  • Kärrholm, Sara (författare)
  • Konsten att lägga pussel. Deckaren och besvärjandet av ondskan i folkhemmet
  • 2005
  • Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
    • The present thesis, Konsten att lägga pussel. Deckaren och besvärjandet av ondskan i folkhemmet, constitutes a literary and cultural-historical investigation of the Swedish 'whodunit' from 1945 to 1965, a period when the genre flourished in Sweden. The central questions that the thesis attempts to answer are: How does the Swedish whodunit emerge and develop in a dialogue with its time during the period, usually referred to as the Cold War, and how was a new narrative of good and evil formulated within the framework of this genre? The first chapter contains two main components: a presentation of the whodunit genre and its emergence in 1950s Sweden, and a discussion of the whodunit as a literary formula. Chapter 2 deals with Stieg Trenter's novel Ristat i sten from 1952 and primarily discussesthe attitude to women represented in the novel, as well as the function of male and female. Chapter 3 examines the theme of normal versus deviant sexuality in Maria Lang'sfirst novel, Mördaren ljuger inte ensam from 1949. Chapter 4 deals with H.-K. Rönblom'sdetective novel Senatorn kommer tillbaka from 1959. In this novel Rönblom raised the issues of the family, the small town in Sweden, relations between Sweden and the United States, and the relationship between the individual and the collective. Finally, chapter 5 discusses the results of the investigation, grouping them according to major themes: threatened and threatening youth; the woman's role; town and country; and the role of the detective as the protector of threatened progress. The whodunit novels give us ongoing discussions and renegotiations of those social values, roles, and modes of behaviour which other media appear to advocate at the relevant point in time. By stressing good moral qualities like cooperation and family values, issues that were directly connected to the central Swedish metaphor of the time, folkhemmet, the whodunit keeps evil at bay.
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6.
  • Apelkvist, Björn (författare)
  • Moderskonflikten i Lars Noréns åttiotalsdramatik
  • 2004
  • Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
    • This dissertation presents a close study of fourteen central dramas written by the Swedish author Lars Norén (1944-) between 1979 and 1990. The question at issue is the unfinished condition of the relation to the mother, mainly among the grown-up, in most cases middle-aged children portrayed in the plays. In the crisis of intimacy, Norén's major thematic motif in his dramatic works of the 1980s ("åttiotalsdramatiken"), a problematically intensified mother domination emerges as a central problem. What appears to be a suffocating maternal oppression and its destructive conditions and consequences cause a tangible and recurring psychological conflict in these plays. The destructively overloaded emotional tension in the relation to the mother is thus systematically analyzed as a primary psychological obstacle or difficulty. Brought to form in various ways and from different perspectives, it is a problematic that ultimately pertains to all the characters. Norén´s texts are studied separately, with a main focus on their thematic content and without any significant references to specific theatrical productions. Informative viewpoints by the American existential psychologist Rollo May (1909-94) are presented as a basic theoretical framework for the study. May´s theory of a typically "Orestian" conflict in family situations with dominating mothers, presented in his book Man´s Search for Himself in 1953, is - among other relevant perspectives - referred to as a thematically explanatory background for the actual studies carried out in the thesis. An important starting point is also a critical overview of previous research on Norén. Among other things attention is paid to the caution displayed regarding the central function of the mother, as well as to the reductive treatment of the essential element of everyday realism at the heart of Norén´s plays. Both of these appear to be predominant tendencies in significant earlier studies of Norén. Orestes (1979) emerges as a prototype for the typical Norénian family crisis, as shown by his plays of the early 1980s. During this period the destructive, if in many ways veiled, power of the mother comes to the fore in similar ways in Underjordens leende (1981), and in the famous so called ´restaurant trilogy´ including Natten är dagens mor (1982), Kaos är granne med Gud (1982) and Stillheten (1984). This motif appears more indirectly in the ´couple relation trilogy´ constituted by Demoner (1982), Vilstolen (1982) and Nattvarden (1983). Here conflicts caused by imprintings or internalized notions of hostile, all-powerful mothers are at the very core in three contiguous dramatical settings. The overall image of family ties defined by maternal domination and fatherly absence is explored further in Norén´s plays of the late 1980s. This unfolds in a process increasingly shedding light also on the formerly more enigmatic image of the mother figures themselves. In the summer reunion play Hebriana (1987), and onwards through the classical formalism of the so called bourgeois quartets - including Höst och vinter (1987) and Bobby Fischer bor i Pasadena (1988) - with their recurring focus on an aging parent couple and two grown up children interrelating, the mother conflict remains central. Finally the perspective of the mother herself is definitively emphasized in Den sista kvartetten (1989). At the same time, the precarious struggle against the destructive psychological impact stemming from the mother relation is further elaborated and diversified. The latter element becomes perhaps most outspoken and externally dramatized in Eugene O´Neills finishing monologue, in Norén´s depiction of the aging playwright in Och ge oss skuggorna, completed in 1990. The movement towards a direct confrontation of the repressed mother conflict is the central theme of the thesis, the final outcome mainly being a deepened insight into and a specified knowledge of this central dilemma. However, attention is paid also to the reverse movement represented by Narcissism as a psychological defence strategy in Norén´s dramatic works of the 1980s. As discussed in a concluding chapter, Narcissistic tendencies appear to be strongly present in Demoner, Nattvarden and Hebriana, in a manner revealing significant connections to the problematic mother relations described in the plays.
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7.
  • Nilson, Maria (författare)
  • Att förhålla sig till moderniteten : en studie i Gertrud Liljas författarskap
  • 2003
  • 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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8.
  • Nilsson, Magnus (författare)
  • Den moderne Ivar Lo-Johansson: Modernisering, modernitet och modernism i statarromanerna
  • 2003
  • Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
    • This dissertation examines the modernity of the Swedish proletarian author Ivar Lo-Johansson (1901-1990), as manifested in the so-called 'statare' novels: Godnatt, jord (Breaking Free, 1933), Bara en mor (Only a Mother, 1939), and Traktorn (1943). The dissertation examines, on the one hand, modernisation and modernity as the topoi of these novels, and on the other, how the author relates to the literary tendency that has come to signify the aesthetic modernisation of the 20th century, i.e. modernism. The theoretical basis of the dissertation is Marxist. The primary source of inspiration has been the model for a Marxist hermeneutics presented by Fredric Jameson in The Political Unconscious, comprising three levels of textual interpretation: the text is read, first, as an historical allegory, and second, as a statement within a class-related discourse, and, finally, in relation to the transformation of the modes of production. The accounts in the novels of modernisation and modernity are first close read and then studied in a historical context. Then the aesthetics of the novels are related to modernism. The account of modernisation and modernity in the novels is found to be fundamentally embracing, even if the negative or threatening aspects of modern society are never downplayed by the author. This position is founded in Lo-Johansson’s socialist outlook, according to which the labour movement guarantees the fulfilment of modernity’s utopian promises and avoidance of its dangers. This view is expressed by Lo-Johansson in a critical dialogue with other contemporary accounts, literary and non-literary, of modernity and modernisation. This dialogue is examined historically with the aid of Mikhail Bakhtin’s concept of dialogue and Antonio Gramsci’s theory of hegemony, as interpreted by Raymond Williams and other Marxist critics. First, Lo-Johansson's relationship to other literary responses to modernity and modernisation – mainly primitivism and socialist realism – is examined. Then, the 'statare' novels are related to non-literary modernist discourses, such as the ideology of the social democratic welfare state and the ideas about the new woman and the new youth. The description of the relation between the aesthetics in the 'statare' novels and modernism is focussed on the term 'social modernism'. This term was coined by Michael Denning and it signifies an attempt to redirect modernist aesthetics away from the abandonment of political, avant-garde ideals as well as the celebration of artistic autonomy, by establishing contacts with extra-literary movements who aim for a change of society. Avant-gardist and social modernist ideas were propagated in Sweden in the interwar period by socialist critics such as Ture Nerman and Arnold Ljungdal. That Lo-Johansson embraces similar ideals is showed in an analysis of three constitutive components of the aesthetics of the 'statare' novels: polyphony, facticity, and the grotesque. These stylistic traits are placed within a modernist context through comparison to the social modernist American documentarism of the 1930s , as well as to different examples of experimental modernism, such as the American non-fiction novel and the nouveau roman.
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9.
  • Ullström, Sten-Olof (författare)
  • Likt och olikt. Strindbergsbildens förvandlingar i gymnasiet
  • 2002
  • Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
    • This doctorial thesis deals with the changes in the image of August Strindberg in Swedish Senior High School Education. Strindberg represents the breakthrough of modern literature in Sweden, where the bounds between public and intimate spheres are challenged. The study investigates how and why the image of a writer is qualified or disqualified for inclusion in a national literary discourse of teaching, and why this image varies. Strindberg’s role illustrates how literary meaning is constructed in higher mother tongue education. Learning and literary understanding are viewed as dialogical, communicative processes. The literary classroom is, however, an arena for a process of sociocultural reproduction and socialization, where linguistic actions also serve non-communicative purposes and various relations of power influence the teaching process. The present study begins around the 1880s. The bulk of the thesis deals with the period beginning around the early 1900s up to the mid-sixties, but it also includes outlooks on teaching today. The research is based on a critical analysis of texts produced for or within literary education. Passages or chapters on Strindberg in frequently used textbooks of literary history are discussed, as well as works of Strindberg represented in school and text selections in various anthologies. Additionally, close to 300 student essays on Strindberg were retrieved from seven or more educational institutions, dated in 1912, 1923, 1943, 1950, and 1960. The approach to Strindberg in school became ambiguous and divided. In the beginning, textbooks and educational institutions tended to ignore his literary authorship. Later on, literary works with themes from national history were given priority, but this canon was mainly studied with a number of important reservations. A qualitative inconsistency in Strindberg’s writings was brought forth as a basis for selection. Many times, this artistic inconsistency was attributed to Strindberg’s psyche. Taken together, the student essays present a picture of how different conceptions of Strindberg have been reproduced and constructed at the senior high school level during half a century. Despite the many stereotypes, the student essays stand out as more or less heterogeneous and reflect, to varying degrees, multiple voices. Even though the teaching of literature often has strongly influenced the reading pre-ferences of the predominant culture, to some students, it has also sometimes had a meaning-making function.
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10.
  • Hallén, Karin (författare)
  • Franskt i Svensk tappning. Studier över franska lånord i svenska dialekter
  • 2001
  • Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
    • This dissertation consists of nine essays (numbered I-IX) which treat French loan-words in Swedish dialects from different aspects. I. To estimate the proportion of French loan-words in Swedish dialects, words beginning with b were counted in the collections of the Swedish dialect dictionary and found to be 2 % of the total b-material. The words are listed and distributions, forms and meanings are discussed. For example, initial b is found to alternate with p in many of the words. II, III and IV focus on certain French loan-words. In II the word estimera is shown to be widely spread in Swedish dialects and have a considerable variation of forms. Change of meaning from 'value' through 'care about' to 'condescend to' is noted. In III the word bagage is studied, especially its distribution and function in the Swedish dialects. Two main meanings emerge: 'luggage' and 'rabble, mob'. IV is a study of two loan-words, one Latin and one French. They form the expression "Räggler å paschaser" used by the poet Gustaf Fröding. The dialectal meanings of räggla and paschas(a) indicate that the slight ambiguity caused by partly different, partly synonymous meanings has been deliberately used by Fröding. V and VI focus on dialectal meanings of French loan-words. In V one dialectal meaning of the word parera 'revere, care about' is studied, for example, in comparison to estimera 'value, care about'. The two words seem to have competed, whereafter parera fell into disuse. VI is a study of four adjectives, briljant, gentil, charmant and elegant in the same semantic field (all express a positive evaluation), which seem to have competed for some time. Only one of them, gentil, has spread widely. VII focuses on the usage of French loan-words in the dialects. These words have been divided into four categories: words for health conditions (malack, kurant, etc.), for states of mind (altererad), for human qualities (suverän) and for communication (ackordera). VIII is an argument against a thesis that pärra 'strive, dispute' in the Swedish dialects in Finland derives from the dialectal form perment(er)a, i.e. parlament(er)a from French parlementer. The dialects show that this cannot be the case. In IX the French loan-words in Swedish are studied in relation to a so called borrowing scale of five levels. The seemingly intensive French-Swedish contacts during the 17th and 18th centuries barely correspond to the first three levels and can hardly be characterized as more than moderately intensive.
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