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- Jakobsson, Hilda, 1984-
(författare)
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Att skilja äkta kärlek från falsk : Manliga och omanliga kroppar i Martha Sandwall-Bergströms Kulla-Gullaserie
- 2013
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Ingår i: Barnboken. - : The Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 36, s. 1-13
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Tidskriftsartikel (refereegranskat)abstract
- ‘‘To distinguish true from false love: Manly and unmanly bodies in Martha Sandwall-Bergström’s Kulla-Gulla series.’’ The protagonist Gulla in Martha Sandwall-Bergström’s (1913-2000) Kulla-Gulla series (1945-51) encounters ’’true’’ and ’’false’’ love through two men, Tomas Tomasson and Ivan Malma. The hypothesis of this article is that true love is placed in a manly body and false love in an unmanly body. Tomas’ and Ivan’s manliness and unmanliness are constructed through characteristics which are marked by different power categories, such as gender, age, class, ‘‘race’’ and functionality. Therefore an intersectional perspective is used. I find that Tomas and Ivan have similar social positions except for their different classes. Tomas’ body is portrayed as manly, mobile and warm, whereas Ivan’s body is characterized as unmanly, immobile and cold. Tomas evokes love in Gulla, whereas Ivan arouses lust as well as ambivalence. Tomas’ manly body functions as a signal for true love and guides the reader as well as Gulla in distinguishing his true from Ivan’s false love. When Gulla chooses Tomas, she is defined as an adult.
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| 4. |
- Jakobsson, Hilda, 1984-
(författare)
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Jag var kvinna : Flickor, kärlek och sexualitet i Agnes von Krusenstjernas tidiga romaner
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The Swedish author Agnes von Krusenstjerna is known for her depictions of girls becoming women, a motif that she returns to again and again throughout her works. Previous academic literature on Krusenstjerna highlights that she writes about girls, maturation, and eroticism, but does not explore what ‘becoming a woman’ means. While the terms ‘girl’ and ‘woman’ are commonly regarded as signifiers of age and sex only, they are in fact laden with a number of assumptions, which I explore in Krusenstjerna’s novels. This thesis analyses the depictions of girls coming of age through their encounter with love and sexuality in Krusenstjerna’s early novels Ninas dagbok (The Diary of Nina, 1917), Helenas första kärlek (Helena’s First Love, 1918), and the Tony trilogy Tony växer upp (Tony Grows Up, 1922), Tonys läroår (Tony’s Apprenticeship, 1924), and Tonys sista läroår (Tony’s Last Apprenticeship, 1926). I explore how the idea of girls becoming women relates to love and sexuality, and I pose the following questions: How is the term ‘girl’ constructed in Krusenstjerna’s early novels? How does a girl become a woman and what implications does womanhood have? Which characters and phenomena in the girl’s surroundings constitute the conditions for her becoming a woman, and which ones risk delaying or even preventing this transition? Furthermore, I seek to connect the depiction of girls, love, and sexuality with Krusenstjerna’s contemporary literary critics’ view of her early novels as girls’ books, i.e. novels for young women, or associated with that literary tradition, even though they were not published as such. I use a combination of feminist and queer theory focussing on temporality. Throughout the thesis, I connect Krusenstjerna’s writings to those of other authors. The following novels are connected to the tradition of books for girls and are used as the starting point for my hermeneutical readings of Krusenstjerna’s works: The Girls at His Billet (1916) by Berta Ruck, Little Lord Fauntleroy (1886) by Frances Hodgson Burnett, Daddy-Long-Legs (1912) and Dear Enemy (1915) by Jean Webster, as well as Anne of Green Gables (1908), The Blue Castle (1926), and Emily’s Quest (1927) by L. M. Montgomery. Examining these novels, I focus on the motif of girls becoming women as well as a selection of other related topics. The thesis addresses two different ways of coming of age depicted in Krusenstjerna’s early novels. The protagonists of the first two novels, Nina and Helena, are portrayed as ‘girls’ who become ‘women’ through their encounter with men and their choice in love, whereas the protagonist of the Tony trilogy is described as a ‘girl’ who only temporarily becomes a ‘woman’ but then turns into a ‘girl’ again. Accordingly, the act of becoming a woman in Krusenstjerna’s first two novels, which is typical for the girls’ book tradition, follows normative expectations of the life trajectory, whereas the queer act of becoming – or rather un-becoming – a woman in the later Tony trilogy does not adhere to the same assumptions. I argue that the fact that the second part of the Tony trilogy has the same plot as Ninas dagbok, and the third instalment the same story as Helenas första kärlek, amplifies the impression that the Tony trilogy queers the normative life trajectory that is found in those two novels and is typical for the girls’ book tradition. Thus, as this thesis proposes, the girls’ book as seen in Krusenstjerna’s work, is queered.
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| 6. |
- Jakobsson, Hilda, 1984-
(författare)
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Jungfrumodern och omöjlig kärlek
- 2019
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Ingår i: Strindbergiana. - Stockholm : Strindbergssällskapet. - 9789163981371 ; , s. 129-136
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 8. |
- Jakobsson, Hilda, 1984-
(författare)
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Not Speaking or Acting as Anti-Social Feminism and Unbecoming Woman : A Queer Reading of Silence in Agnes von Krusenstjerna’s Tony Trilogy
- 2022
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Ingår i: Barnboken. - : The Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 45, s. 1-24
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Tidskriftsartikel (refereegranskat)abstract
- The aim of this article is to explore the queer possibilities of the silence in the depiction of the protagonist’s love life in Agnes von Krusenstjerna’s Tony trilogy (1922–1926). The silence in the trilogy is manifested through absence: the theme of “ingenting” (nothing), the protagonist not speaking or acting, and the aesthetic that is created by interruptions in the protagonist’s dialogue, inner monologue, and narration. The analysis focuses on three passages: a depiction of an encounter between Tony and one of her suitors, her relative Frank Maclean, in Tonys läroår (Tony’s Apprenticeship, 1924); the ending of the trilogy in Tonys sista läroår (Tony’s Last Apprenticeship, 1926); and an epilogue to the trilogy, which was never included in it but later published in the second, expanded edition of En dagdriverskas anteckningar (The Notes of a Flâneuse, 1934). They are contextualised with references to the trilogy as a whole and compared to Krusenstjerna’s previous novels Ninas dagbok (The Diary of Nina, 1917) and Helenas första kärlek (Helena’s First Love, 1918). The method is a close reading with instead of against the grain, focusing on queer aspects of depictions of heterosexuality. It draws on theory belonging to the anti-social turn of queer studies and queer temporality studies. My conclusion is that Tony not speaking or acting can be read as anti-social feminism, with Tony as an anti-social feminist subject. Her queer life schedule can be interpreted as unbecoming woman. The “nothing,” and implicitly the creativity, that her passivity leads to accomplishes the opposite of patriarchal and chrononormative structures. The narrative and its ending are queer in the sense that they refuse to cohere and to fulfil demands for a happy, emancipatory ending.
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| 9. |
- Jakobsson, Hilda, 1984-
(författare)
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Skev
- 2020
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Ingår i: Lambda Nordica. - : Foreningen Lambda Nordica. - 1100-2573 .- 2001-7286. ; 25:1, s. 150-154
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
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| 10. |
- Jakobsson, Hilda, 1984-
(författare)
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The Virgin Mother and Impossible Love in August Strindberg's The Defence of a Madman
- 2020
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Ingår i: August Strindberg und die Aufklärung. - Würzburg : Verlag Königshausen & Neumann. - 9783826069079 ; , s. 377-384
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The overall purpose of this paper is to explore August Strindberg's depicition of heterosexual love. The specific aim is to examine a certain type of love, which is idealised but ephemeral, in relation to a recurring character in Strindberg's writings: the girlish woman. The paper focuses on The Defence of a Madman and poses these questions: How is the girlish woman depicted? How is she related to the aforementioned type of love? The theoretical point of departure for the paper is queer theory focussing on temporality. The girlish woman is connected to that, which I call impossible heterosexual love. This type of love is idealised but does not have a future. She is connected to a certain fantasy of romantic love, which cannot last. Thus, she becomes a monster in the eyes of the male protagonist.
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