| 1. |
- Andriantsaralaza, Miora, 1996-
(författare)
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Mass Loss of Evolved Stars : Improving Mass-Loss Rates and Distances
- 2024
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In the final stages of their lives, low to intermediate-mass stars enter the Asymptotic Giant Branch (AGB) phase, where they experience significant mass loss through dusty stellar winds. This mass loss is pivotal, not only for the chemical enrichment of the interstellar medium, setting the stage for new stars and planets to form, but also in dictating the evolution and the ultimate fate of the stars themselves. The study of mass loss in AGB stars is therefore of paramount importance. Analyses of emission from CO gas in these outflows allow for the determination of mass-loss rates, as CO serves as a primary tracer for the molecular gas in the circumstellar envelopes of AGB stars. However, one of the main uncertainties in mass loss estimations arises from the assumptions on the size of the CO envelope. This uncertainty can be removed using interferometry, which allows for direct measurements of the spatial extent of the CO emission. Using the compact array of the Atacama Large Millimeter/submillimeter Array (ALMA), we measured the extent and investigated the degree of sphericity of the CO-emitting regions around 69 AGB stars in the DEATHSTAR programme. Of those, 27 are presented in this thesis.Another significant source of uncertainty in mass-loss rate estimates lies in the distance, a fundamental parameter which has been notoriously difficult to accurately determine for AGB stars, especially when relying on optical parallaxes like those from Gaia. To tackle this, we conducted a comparative analysis between Gaia DR3 parallaxes and the more robust parallaxes obtained from high-resolution interferometric observations of maser emissions. This approach enabled us to provide reliable distance estimates for a sample of 200 AGB stars, including the DEATHSTAR sample, offering a valuable resource for the AGB scientific community. Using the newly calculated distances and updated CO envelope size measurements, we performed radiative transfer modelling to derive the mass-loss rates of a sample of 27 carbon-rich AGB stars. The spatial information provided by ALMA observations acted as strong constraints for our models, ensuring a more accurate representation of flux contributions from various spatial scales.By providing the measurement of CO envelope sizes, improving the distance determination to AGB stars, and presenting improved mass-loss rates, this thesis provides new insights into the complex nature of AGB stars and their mass loss.
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| 2. |
- Hyltén-Cavallius, Isak
(författare)
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Den ofärdiga vetenskapen : Om krisen i svensk litteraturforskning och litteraturtolkningens villkor
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Denna avhandling undersöker en brist på konsensus inom den svenska litteraturvetenskapliga forskningen gällande såväl dess objekts grundläggande egenskaper, som vilka teorier och metoder för att studera detta objekt som är mest giltiga. Från perspektivet av denna brist, föreställd som en epistemologisk ”kris”, utforskas här möjligheterna för att betrakta detta sakförhållande som produktivt av kunskap samt vilken form denna kunskap i så fall skulle ta. Detta, menar jag, görs bäst inom ramen för den kritiska hermeneutiken och, mer specifikt, så som man finner den i Paul Ricœurs La Métaphore vive. Avhandlingens inledning tecknar, från ett begränsat men representativt urval, framväxandet av föreställningen om en epistemologisk kris i den litteraturvetenskapliga ämnesdebatten sedan 1960-talet som samtida med introduktionen av en mängd nya teorier inom ämnet. I avhandlingens första kapitel kommer förståelsen av krisen sedan att fördjupas genom en mer ingående diskussion av fyra ämneshistoriska och ämneskritiska verk. Krisens ursprung kommer här med allt större tydlighet att härledas till inkommensurabiliteten mellan olika epistemologiska utgångspunkter inom ämnet. Avhandlingens andra kapitel spårar genom analys denna kris i några av litteraturvetenskapens faktiska praktiker. Resultaten av dessa analyser ställs därefter i relation till flera moderna hermeneutikers tänkande. På detta sätt visar kapitlet på krisen som den kommer till uttryck i praktiken och visar samtidigt på en tendens i den moderna hermeneutiken att internalisera krisen och göra den produktiv av en ”sanning som tolkning”, i motsats till en ”sanning som identitet” eller ”korrespondens” mellan tanke och verklighet. Således förbereder detta kapitel marken för det följande kapitlet, i vilket Ricœurs spänningsfyllda hermeneutik introduceras. I Ricœurs hermeneutik, som den utvecklas ur hans teori om litterära verk i La Métaphore vive, finner avhandlingens tredje kapitel den eftersökta möjligheten för krisens produktivitet. Där framställs det litterära verket som ett spänningsfyllt och motsägelsefullt studieobjekt, i grunden brustet i och med den motsatta kraften mellan dess semiotiska och dess semantiska aspekter. Utifrån en sådan förståelse av det litterära verket ter sig den epistemologiska krisen inte längre som ett problem för litteraturvetenskapens kunskapsproduktion, utan snarare som ett lämpligt svar på dess objekts immanenta kris. Det är utifrån det litterära verket föreställt som sådant, som Ricœur utvecklar en hermeneutik som karakteriseras av konflikten mellan epistemologiska perspektiv; för vilken krisen i själva verket blir ett möjlighetsvillkor. Avhandlingens fjärde och sista kapitel återknyter denna teori om tolkning som finner sin näring i krisen, snarare än misslyckas på grund av den, till litteraturvetenskapens kris. I kapitlet företas även en tentativ diskussion om vilken typ av kunskap en vetenskap som finner sitt möjlighetsvillkor i krisen kan förväntas producera.
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| 3. |
- Pejkovic, Sanjin
(författare)
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Det förflutna är ett främmande land : Medierade minnen av Jugoslavien i postjugoslavisk dokumentärfilm
- 2019
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- I samband med det forna Jugoslaviens upplösning, under och efter de krig som kom att dominera mediebilder av området, har det gjorts dokumentärfilmer som på olika sätt berört det tragiska efterspelet av Josip Broz Titos och landets död. Jugoslaviens kollaps var en historisk händelse av stor betydelse för de individer och det kollektiv som utgjorde landet, men också för regionen, för Europa och världen. Olika berättelser och förklaringar om hur landet fallit sönder har sedan dess dominerat filmrepresentationer av det förflutna. Många var de filmer vars avsikt var att klargöra och på mer eller mindre didaktiska sätt förklara landets upplösning och de efterföljande krigen. Trots mängden postjugoslaviska dokumentärfilmer, har mer ingående analyser av dessa sällan hittat sin plats i akademiska studier.Det förflutna är ett främmande land analyserar filmrepresentationer av Jugoslavien och Josip Broz Tito. Tematiskt berörs medierade minnen och minneskonflikter av Tito och landet. Studien undersöker huruvida de utvalda filmernas syn på det förflutna överensstämmer eller är i konflikt med rådande ideologiska skiftningar efter kommunismens fall.Avhandlingen tar upp filmrepresentationer av Jugoslavien och Josip Broz Tito, landets president, tillika diktator, mellan 1945 och 1980. Tematiskt berörs medierade minnen av Tito och landet. Den centrala frågan är hur och varför vissa audiovisuella minnen gestaltas på olika vis. Även om historia och historieskrivning utgör viktiga komponenter i avhandlingen, kommer koncentrationen snarare att ligga på medierade minnen och minneskonflikter som uppstått efter Jugoslaviens sönderfall. Rent konkret analyseras filmernas teman och stilgrepp för att försöka uttyda hur deras form kan kopplas till innehåll. Olika minnesstrategier kartläggs med hjälp av stilmässiga och tematiska filmanalyser. Avhandlingen försöker reda ut huruvida de utvalda filmers syn på det förflutna överensstämmer eller är i konflikt med rådande ideologiska skiftningar efter kommunismens fall.Avsikten med studien är att nyansera och kritiskt granska parallella minnesspår i en region som saknar en enhetlig syn på det förflutna.
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| 4. |
- Asklund, Jonas
(författare)
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Humor i romantisk text : om Jean Pauls estetik i svensk romantik: C.F. Dahlgrens Mollbergs epistlar (1820), C.J.L. Almqvists Amorina (1822) och C. Livijns Spader Dame (1825)
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The three works analyzed here were published at the culmination of Swedish romanticism. The strange mixture of the high and the low, the sacred and the profane that is typical for them has been an interesting challenge for literary scholars. For instance, in older research one sometimes spoke of poor handwork, or bad taste of the writers or it was explained that these works were a stage between the end of romanticism and the beginning of realism. A common approach in the last years has been to leave such biographical and contextual discussions aside to investigate these semantic tensions as something typical of all forms of literary texts. However, the aim here has been to analyze some of the tension-filled passages in these works for their humor by using the cognitive humor theory of linguistics which describes the phenomenon as a bifurcated logical process – first the creation of discrepancy in the text being followed by the insight that the logical opposites may be related to each other when using the logic of the absurd. This analysis combines the approaches of the cognitive humor theory with the terminology and analytic model of Michael Riffaterre developed in his Semiotics of Poetry (1978), where he shares the theoretical views of the linguists but focuses on literary texts. The results of this analysis are in a second stage related to a contemporary discussion of humor, above all the stand taken by the German writer Jean Paul in his Vorschule der Ästhetik (1804) and demonstrated in his novels Titan (1800-1803) and Des Luftschiffers Giannozzo Seebuch (1801). The first step taken in the thesis shows that the tensions in the three chosen texts can be understood as deliberate, that is, as a form of humor, and that it can be said that these three texts share a common aesthetic. In opposition to the view often found in research that the texts are a transition from the romantic to realism the second comparative part of the thesis shows that this humoristic aesthetic in many ways is close to the discussion of humor and of Witz to be found in Jean Pauls Vorschule der Ästhetik. A fruitful result of this analysis is the important place Christianity takes in this humoristic aesthetic. This partly opens new fields for research in the functions of allusions in these romantic texts to the Old and New Testaments, but also in the role that emblems and the tradition of devotional literature play in these works.
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| 5. |
- Björklund, Elisabet, 1983-
(författare)
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The Most Delicate Subject : A History of Sex Education Films in Sweden
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this dissertation is to present a history of sex education films in Sweden, from their beginnings until the late 1970s, relating the films to the changing historical context of the Swedish welfare society. Within this framework, the dissertation explores two main sets of questions. First, utilizing a contextual understanding of genre, the dissertation analyzes how the films were produced, exhibited, and censored, what position and status they had, and where the borders were understood to be to kindred types of film, such as exploitation and pornography. Second, the norms and ideas about sexuality that the films construct are explored from a social constructionist perspective and put in historical context. Apart from the films themselves, the material used consists of censorship records, archival material, and articles and reviews from the daily press and the trade press.The study demonstrates that the sex education film has always been a delicate genre, and that this delicacy is related to the medium and to the fact that cinema is part of the commercial market. The sex education film came to Sweden through imported films during the silent era and was relatively common at Swedish movie theaters from the 1920s to the early 1970s. Very quickly, it became a contested genre thought to be in need of regulation, which can be seen in the censorship procedures. For instance, until the 1950s, screenings were often restricted through gender segregation. When film censorship was liberalized in the 1960s, sex education films could show more than before, and when the films in the sexually explicit Language of Love series (1969–1972) were released, their relationship to pornography became a central point of discussion. The changing views on using film in school sex education are also examined. Here, it is shown that if film was seen as a potentially helpful tool in the 1920s and 1930s, this view had changed into a more skeptical position by the early 1970s.In the analysis of the content of the films, only Swedish examples are studied. In the first group of theatrically shown films of this kind, which appeared in the 1940s and 1950s, sexuality is represented as problematic through the themes of venereal disease and abortion. Here, casual sex is seen as immoral and abortion is condemned. At the same time, the films display how traditional and modern views on sexuality and gender were under negotiation during this period. While reproduction was the dominating perspective in school films well into the 1970s, the Language of Love films display a radically different perspective on sex, not least because of their focus on sexual pleasure. However, while the films advocate a liberal idea about sexuality according to which science leads to liberation, a focus on romantic long-term relationships can also be noted. Throughout the period, there is an emphasis on rationality and science and on a secular perspective on sex in which love is seen as more important than matrimony. In this way, the films in general reflect a strong belief in modernity and progress that was characteristic of Sweden during the welfare era.
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| 6. |
- Edlund, Johan
(författare)
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Modernitet och myt : avförtrollning och återförtrollning i Knut Hamsuns Sult, Mysterier och Pan
- 2015
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Knut Hamsun (1859-1952) is generally regarded as one of the first proponents of modern literature in Scandinavia. The present thesis discusses the author’s breakthrough phase which took place around the year 1890. This was an era when societal modernity became established in the Scandinavian countries, and new and revolutionary ideas and norms appeared concerning society, science, and art. Hamsun was an active recipient of everything new. He was part of a diverse group of contemporary Western authors, artists, and intellectuals who sought to register and interpret the changes that took place. At the center of my interest is the author’s understanding of, and attitudes toward, modernity and how these opinions are expressed in three central texts in Hamsun’s output from the 1890s: Hunger (1890), Mysteries (1892) and Pan (1894). My study involves a shift of emphasis and a further development of earlier investigations. In order to describe and interpret the author’s relationship to modernity, I make use of the concepts of “disenchantment” (Entzauberung in the vocabulary of Max Weber) and “re-enchantment”. These concepts are especially suitable in discussions concerning the relationship of the early works to their time, and their specific prerequisites. The use of the concepts varies in my presentation. They are used as a means to describe and interpret the author’s attitudes to the social modernity that he confronted, and as tools for the analysis of the texts in which I am interested. The thesis explores the dynamic relationship between one of the consequences of the Modern Age – the disenchantment of the world – and the myth of a recreated enchantment that I contend was formed during the author’s breakthrough phase, and how this polarity is manifested in the three novels I consider to be the most central in the author’s output from the 1890s. My investigation seeks to explain how the author’s ambivalent perspective toward the modern came to be used for an artistic purpose.
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| 7. |
- Ehriander, Helene
(författare)
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Humanism och historiesyn i Kai Söderhjelms historiska barn- och ungdomsböcker
- 2003
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Kai Söderhjelm (b. 1918 in Helsinki, d. 1996 in Gothenburg) belonged to a Finland-Swedish cultural family, and was for many years an important and valuable figure in the intellectual life of Sweden. Söderhjelm’s authorship follows the same clear thematic lines from his first book, Rid mot nordväst (1948; Ride to the northwest), to his last, Okänt land (1993; Unknown land). These themes are peace, the significance of history for the present, and women’s issues. Söderhjelm is at his highest and best, from the point of view of content, art, and style, when he uses these themes in his storytelling. The 19 historical novels (or books that reflect on history) – roughly half his total production – are the most interesting in terms of content and form. Whatever their year of publication, these books are still readable and “alive.” That Söderhjelm “expertly, and with a pacifistic conviction has brought so many epochs and settings to life” is one reason Sonja Svensson, in Den svenska litteraturen, declares him “the leading humanist in Swedish children’s literature”. Söderhjelm’s contemporary novels have become more-or-less dated, and most of them are interesting only if studied as documents of the time when they first were published. The purpose of this thesis is to examine the humanism and the view of history in Kai Söderhjelm’s historical novels for children and young people. Both of these terms – humanism, and view of history – can be described as expressions of ideological positions, and they are here analyzed accordingly. My analyses show that the same values can be found in all of Kai Söderhjelm’s historical books, and that they often are formulated in similar ways and presented to the reader via similar structures. No obvious development is discernible; Söderhjelm makes clear from the start of his writing career what his convictions are, and what he wishes to communicate to his readers. Whatever age group he addresses, whatever story he is telling, the message is the same. The tempo of the books picks up over time, and, as Söderhjelm grows more experienced as a writer, he uses more complicated narrative techniques and experiments in form. The humanistic framework, however, remains constant throughout his work.
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| 8. |
- Erlanson, Erik, 1986-
(författare)
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Ordkonst och levnadskonst : Det skrivande subjektet i John Ashberys, Yves Bonnefoys och Inger Christensens diktning
- 2017. - 1
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The chief aim of this thesis is to investigate the use of language called poetry during the second half of the 20th century and how the writing subject is implicated in it. Building on the theoretical perspectives enabled by Michel Foucault’s late work on the technologies of the self, I analyze the practices of writing in John Ashbery’s, Inger Christensen’s and Yves Bonnefoy’s poetry.The introductory chapter discusses Foucault’s work on the history of the technologies of the self and what perspectives it provides for the study of 19th- and 20th-century literature. It opens for a study not concerned with the meaning of poetry or particular poems. The theoretical framework enables a focus on the mode of subjection at work in the writing and reading of poetry; on the forms of subjectivity produced and on the fields of experience enabled. In order to analyze such questions, the thesis investigates how and under what conditions the three poets problematize what they are and do qua poets. The second chapter turns to Ashbery’s writings on art and poetry as well as his writing of poetry, in particular the two major long poems, ”Self-Portrait in a Convex Mirror” (1974) and ”Fragment” (1966). The first is analyzed as a problematization of poetic and artistic activity and the second is read in relation to a certain, for the American context specific, idea of what lyric poetry is and does, also elaborated in the chapter. The problem in the center of this chapter is the historical conditions of possibility for avant-garde poetry, in Ashbery’s sense, i.e., for the production of something unrecognizable. The third chapter is primarily concerned with Bonnefoy’s early books of poetry, Du movement et de l’immobilité de Douve (1953) and Hier regnant desert (1958), and collection of essays, L’Improbable (1959). In focus are the relations between subject, language and the sensuous reality, that which simply is. Bonnefoy’s poetry and poetics are analyzed in order to elaborate what the writing subject, given the negativity of language, has to do in order to establish a relation, be touched by the sensuous reality. The chapter dealing with Christensen, finally, turns to her idea of poetry as a form of knowledge and investigates under what conditions knowledge is produced in the form of a poem. Through an analysis of her poetics, it is demonstrated that writing subject function as a medium for knowledge production rather than as its agent. In order, however, to function as such, a preparatory work, an askēsis, transforming the subject must be performed. In Christensen’s poetry book it (1969) a number of exercises that initiate to a form of life in which poetry may be produced are identified and analyzed. In the concluding chapter a common rule that governs the three poets is elaborated. Although their poetry differ ostensibly, it is argued that insofar as the subject is implicated in their practices, it is not primarily an object for knowledge, but a material to work with and modify in order to gain access to a certain form of experience. In this respect, their poetry constitutes an art of existence. The relation between poetry and life that follows is, furthermore, traced back and related to earlier conceptions of poetry, in particular to French symbolism.
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| 9. |
- Friman, Wiveca
(författare)
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Växandets gestaltning i Peter Pohls romansvit om Micke
- 2003
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Peter Pohl was born in Germany in 1940 but grew up in Stockholm, a setting reflected in many of his books. Pohl, a researcher at the Royal Technical University in Stockholm, made his fiction debut with the multi-prize-winning novel "Janne, min vän" (1985), and is internationally acclaimed for, among other things, the way in which his teenage novels highlight existential questions. The purpose of this thesis is to follow the plot in the series of five books which portray a boy's growth and development in Stockholm largely during the 1940s and 1950s. The analyses show how Peter Pohl creates characters, settings and events. Several critics have suggested that Pohl's books are characterised by pessimism. Attention is paid in the reading to the view of life, optimistic or pessimistic, expressed in each novel and to whether or not the novels are of a deterministic character. At the same time attention is paid to how the novels as a whole show the importance of society and those most closely concerned with the individual with regard to that individual's possibility to influence his or her situation. Much of the material in Pohl's novels is based on his own early diary entries, which, in the sense that they are based on reality, creates the impression of autobiography or documentary. The texts which are analysed are the tales "De Stora Penslarnas Lek" (1989), descriptions of childhood, "Regnbågen har bara åtta färger" (1986) and "Medan regnbågen bleknar" (1989) as well as the teenage novels "Vilja växa" (1994), "Vi kallar honom Anna" (1987) and "Klara papper är ett måste" (1998). A close reading follows the main character and development of plot; it also considers a variety of themes, such as longing, friendship, sorrow and guilt, and their function. Interpretation of the text takes place in a psychological and socio-psychological context. Symbols, allusions and intertexts are elucidated in connection with the analysis of themes and motifs. From a narratological perspective the narrative is considered with particular regard for focalization and narrator reliability. I also examine various levels of narrative and temporality. The theories and methods of Gérard Genette, Mieke Bal and Staffan Björck in particular are applied.
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| 10. |
- Helgason, Jon
(författare)
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Hjärtats skrifter : en brevkulturs uttryck i korrespondensen mellan Anna Louisa Karsch och Johann Wilhelm Ludwig Gleim
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation examines the correspondence of the 18th-century German authors Anna Louisa Karsch and Johann Wilhelm Ludwig Gleim. The main emphasis of the present study is to demonstrate how readings of Karsch's and Gleim's correspondence shed light on epistolary culture. Particular attention is paid to the notion of epistolary culture as a relatively unrestrained ?experimental setting? for bourgeois social roles and models. The correspondence of Karsch and Gleim is seen as particularly relevant, because it displays and highlights a number of significant transitional phenomena concerning aesthetics, ethics and gender-roles in late 18th-century Germany. This involves, among other things, aspects of a pre-romantic aesthetics of expression, which is manifested in the ?natural style? of epistolary culture. The first chapter contains an analysis of the letter as a specific mode of communication. This includes an examination of the oral legacy of the letter as well as of the classical idea that the letter, more than any other written form, expresses the writer's ?inner self?. The second chapter focuses on role play as an integral part of epistolary culture. The role play is regarded as an instrument of socialisation, and Karsch's role persona ?Sappho? and this role's function in the correspondence with Gleim are analysed from this perspective. The following chapter depicts the so-called ?crisis in the code of communication?, a theory developed by German sociologist Niklas Luhmann and often used to describe the semantic difficulties in expressing deep interpersonal feelings around the middle of the 18th century. This frequently qouted and rephrased hypothesis is tested in relation to the expressions of love and friendship found in the letters. These expressions of love and friendship are studied against the backdrop of the so-called ?cult of friendship? of mid 18th-century Germany. The fourth chapter deals with the autobiographical letters of Anna Louisa Karsch. These letters are considered crucial to the contemporary 18th-century reception of Karsch, as the letters formed the basis for Johann Georg Sulzer's biographical introduction to Karsch's Auserlesene Gedichte. The autobiographical letters are scrutinized by means of several dichotomies, such as public/private and construction/authenticity. Special attention has been paid to how Karsch uses the concept of ?nature? as well as biblical modes of reading and of identification, and to how Karsch's use of these value-laden concepts converge towards the idea of a pre-romantic aesthetics of inspiration and genius.
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