| 1. |
- Huss, Markus, 1981-
(författare)
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Motståndets akustik : Språk och (o)ljud hos Peter Weiss 1946–1960
- 2014
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study explores how language is thematized in a selection of literary texts written in Swedish and German by Peter Weiss between 1946 and 1960. The textual interpretations seek to establish how Weiss’s literary work forms a multifaceted reflection on language and its cultural, historical and material preconditions. The various literary conceptualizations of language in Weiss’s texts are shown to be intimately linked to historical processes, where early postwar Germany plays a crucial role as a contextual framework. The study demonstrates how the texts explore an acoustic dimension of language, where non-articulatory sounds and noises oscillate between two poles: they either pose a threat to the narrator, or form a promise of a future emancipatory linguistic expression beyond a territorializing and violent language. Furthermore, the study argues that the sounds and noises permeating Weiss’s literary work form a soundtrack of past violence haunting the present. Finally, this soundtrack is shown to undermine a German postwar literary discourse that postulates a historical break after the Second World War (Stunde Null) as well as a new German literary language cleansed of Nazi contamination (Kahlschlag).The study draws its theoretical framework mainly from research concerned with mono- and multilingualism in literature, as well as from intermedial studies examining the interaction between literary texts and other artistic media such as the visual arts and music.The material examined in the study consists of six short stories in Swedish published between 1946 and 1953 in the literary journals 40-tal, Prisma and All världens berättare; the prose manuscript “Der Vogelfreie” (1947), later published as Der Fremde. Erzählung (1980); as well as the “micro novel” Der Schatten des Körpers des Kutschers (1960). Aside from these literary texts, Weiss’s documentary film Enligt lag (1957) and his feature film Hägringen (1959) are also analyzed.
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| 2. |
- Testad, Gunnel, 1945-
(författare)
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"Solidariteten, det vackra i denna strid...". Spelet om Norbergsstrejken 1891-92 : En studie i arbetarkultur
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis is a monograph on The Play about the Norberg Strike 1891–92, a pioneering project and performance relating to working-class cultural expressions. The project was initiated in the summer of 1975, and the first successful performances were held in June and July 1977. The democracy of cultural life was very positively manifested in The Play and in Swedish media, it was described as the first working-class play. It served as a model for other similar productions, set in many places in Sweden. The investigation began with field studies, which facilitated the choice of a suitable theory. A starting-point was that a specific working-class culture exists, subordinated to the dominant middle class culture. Social class distinction is an underlying concept for hegemony, and also for the spanning theoretical framework used in my investigation. It comprises a public sphere theory, formulated by Oskar Negt and Alexander Kluge in their book Öffentlichkeit und Erfahrung (1972). Their concept counter-public sphere is applied to The Play.The main purpose was to describe the characteristic features of The Play, by delineating and analysing the production phase, particularly the aesthetically elaborated parts, i.e. the script production, the staging, the performance, and the reception, all consistent with the working-class culture and the local conditions in Norberg. A more subordinated purpose was to complete the common definition of the term working-class play.The Play about the Norberg Strike succeeded in putting the negative influences of the bourgeois public sphere aside, replacing it with positive categories. The work processes were of vital importance, as was the forming of new platforms and communication channels based on the local working-class experiences and lives. Consequently, The Play became a genuine expression and a solid breakthrough for working-class experiences.
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| 3. |
- van Ooijen, Erik, 1980-
(författare)
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The mold of writing : style and structure in Strindberg's chamber plays
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The thesis examines the five plays published by August Strindberg under the label of Chamber Plays: Stormy Weather, The Burned Lot, The Ghost Sonata, The Pelican (all 1907), and The Black Glove (1909). It takes its point of departure in a particular aspect of Strindberg’s way of writing as he actually describes it himself: during the act of deliberate composing, a productive fever tends to emerge bringing an element of chance to the work. The thesis defines the effect produced by this “fever” as the tension generated between, on the one hand, structure or form, and, on the other hand, style or writing. These concepts are associated with a tradition, primarily in French literary theory, which pays attention to what is described as a friction between the general linguistic aspect of literature (genres, recurring and recognizable patterns) and the individual aspect (the peculiar and idiosyncratic style of an author embodied in his material habitus). Thus the ambiguity found in the thesis’ title: the “mold” alludes partly to the stereotypes or matrices of language, partly to the “fungi” that, according to Strindberg, could be considered an adequate image for writing; the poetic work, says Strindberg, grows like mold from the author’s brain. Theoretical questions, primarily of a formal and interpretational nature, are continuously discussed since one of the main points is that the Strindbergian way of writing restricts what kind of interpretation may be given his works. The eventual contrast between form and interpretation is, furthermore, related to a general theme developed throughout the Chamber Plays concerning the meaning of life. It is stressed that the five plays show distinct formal and thematic differences; thus, a separate chapter is dedicated to each of them. The chapter on Stormy Weather examines the structural use of focus and the hierarchy of character-functions related to the centering on a protagonist. The Burned Lot is discussed from the concept of a ruin to describe how a multitude of conflicting forms come together to produce a fragmentary result. The Ghost Sonata is described in terms of simulation: while Strindberg alludes to certain dramatic patterns, he also distorts them whereby new effects are created. The chapter on The Pelican explores the temporal flow of the play and how it relates to writing. The thesis ends with a discussion of The Black Glove and its relation to the preceding Chamber Plays and also to the Strindbergian oeuvre. The concept of weed is used to distinguish a recurring element in Strindberg’s work as well as in his worldview. Throughout the thesis, the discussion is consistently related to previous studies and commentaries on the plays.
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| 4. |
- Holmgren, Mattias, Doktorand, 1991-
(författare)
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A Negative Footprint Illusion in Environmental Impact Estimates
- 2020
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- A major part of anthropogenic climate change is due to everyday human behavior, such as transportation, food and energy consumption. As a result, it has been argued that many barriers for mitigating climate change are psychological in nature. For example, people’s decisions and behaviors are subject to heuristics and biases which sometime harm our decisions. The benchmark of the present thesis is the finding that people believe that adding environmentally friendly items to a set of conventional items reduces the impact of the whole set. This phenomenon has been coined a negative footprint illusion (NFI). How robust is this effect, is it generalizable across judgmental dimensions and what is the mechanism that underpins the effect? This thesis concerns these three questions. Paper 1 found support for the assumption that an averaging bias underpins the NFI. On this view, the NFI appears because people intuitively respond with the average of the ‘vices’ (the unfriendly objects) and ‘virtues’ (the more environmentally friendly objects) in the combined set of objects. Paper 2 demonstrated that the NFI is insensitive to some levels of expertise. Furthermore, Paper 2 also reported the first demonstration of the NFI in the context of a within-participants design. Paper 3 found that a NFI can also be demonstrated in the context of atmospheric CO2 concentration estimates. Paper 3 also reported further evidence for the averaging bias account of the NFI and showed that the effect is at least insensitive to some variations in the framing of the problem posed to the participants. Paper 4 demonstrated that the NFI can be eliminated by priming a summative mindset before requesting participants to make the environmental impact estimates. Taken together, this thesis shows that the NFI is a robust phenomenon that can be found across various to-be-estimated stimulus materials, it appears to be underpinned by an averaging bias but can be cognitively controlled in certain conditions.
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| 5. |
- Holmgren, Mattias, Doktorand, 1991-, et al.
(författare)
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Deceptive sustainability : Cognitive bias in people's judgment of the benefits of CO2 emission cuts
- 2019
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Ingår i: Journal of Environmental Psychology. - : Elsevier. - 0272-4944 .- 1522-9610. ; 64, s. 48-55
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Tidskriftsartikel (refereegranskat)abstract
- People's beliefs in the actions necessary to reduce anthropogenic carbon dioxide (CO2) emissions are important to public policy acceptability. The current paper addressed beliefs concerning how periods of small emission cuts contribute to the total CO2 concentration in the atmosphere, by asking participants to rate the atmospheric CO2 concentration for various time periods and emission rates. The participants thought that a time period with higher emission rates combined with a period of lower emission rates generates less atmospheric CO2 in total, compared to the period with high emission rates alone – demonstrating a negative footprint illusion (Study 1). The participants appeared to base their CO2 estimates on the average, rather than on the accumulated sum, of the two periods' emissions – i.e. an averaging bias (Study 2). Moreover, the effect was robust to the wordings of the problem presented to the participants (Study 3). Together, these studies suggest that the averaging bias makes people exaggerate the benefits of small emission cuts. The averaging bias could make people willing to accept policies that reduce emission rates although insufficiently to alleviate global warming.
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| 6. |
- Johnsson, Henrik, 1978-
(författare)
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Strindberg och skräcken : Skräckmotiv och identitetstematik i August Strindbergs författarskap
- 2009
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The subject of this dissertation is the theme of identity in the works of August Strindberg and how this theme is explored through the use of motifs drawn from the literature of horror and fantasy as well as Swedish folklore. The theme deals with how the individual’s identity is shaped and what it consists of, and how it can be manipulated, stolen or lost through interaction with other people.The motifs studied are those of the homunculus, ghost, vampire and doppelgänger. These motifs are associated with their own specific set of functions, most of which in some way relate to the theme of identity. The motifs interact with each other and with the theme itself, creating an interplay which remains a constant throughout Strindberg’s works.Strindberg makes use of the motifs in both a metaphorical and literal sense, with for instance ghosts in some texts appearing as real to the characters who see them and in other texts being used metaphorically to represent the individual’s guilty conscience. This metaphorical use of the motifs shows how Strindberg appropriates the motifs from the genres in which they originally appear and reinvents them by giving them new functions in his own works. The texts studied show how Strindberg by using these motifs and transforming them makes them an integral part of his exploration of the theme of identity, which in turn is shown to be of central importance to an understanding of Strindberg’s works.
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