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- Aare, Cecilia, 1959-
(författare)
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Reportaget som berättelse : En narratologisk undersökning av reportagegenren
- 2021
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study is the first dissertation where the genre of reportage (in the U.S. classified as literary journalism) is systematically mapped with the help of narratology. Using tools primarily from structural discourse narratology, the thesis examines, describes and maps written reportages as narratives. Rhetorical and cognitive narratology complement the approach. The investigation rests on two assumptions. Firstly, a reporter’s professional purpose is to report about people and states of affairs outside the reporter herself. This results in a contextual commitment, which leaves traces in the narrative in the form of a textual commitment. The latter is in turn divided into narrative empathy and narrative compassion/sympathy. The thesis highlights the creation of narrative structures and stylistic features in reportages and the overall conclusion is that conceptions about a reporter’s professional purpose in fact do influence the narrativity of the text. Secondly, in contrast to news journalism, reportage is a personal genre that can be considered a directed reality: the content is taken from reality but the form is personal and a consequence of the writing reporter’s choices. The thesis presents a narratological model where the text develops in the interplay between three instances: a director, a narrator (in a first-person reportage a narrating reporter) and experiencing characters (in a first-person reportage including an experiencing reporter). The director should be regarded as a structuring property of the text itself. Part 1 provides a historical background to the reportage genre and the social side of the reporter role. In part 2, narrative characteristics of the genre are explored and defined together with the common roots of reportage and novels within realism and naturalism. Part 3 demonstrates how a contextual commitment can be transformed into a textual commitment. Throughout the dissertation, the director model is used to investigate differences and similarities between subcategories within the genre, sometimes between single texts, sometimes between reportage in general and fictional narrative. In part 4, a typology of reportage is presented. The genre is divided into five types of narration, based on the representational relation between how the physical reporter has collected information and in what ways an experiencing reporter is or is not apparent in the text. The thesis ends with a historicization of consonance and dissonance within the reportage genre. Consonance emphasizes the characters’ “here-and-now” and can be found within a broad, classical tradition of eyewitness reporting. Dissonance emphasizes the narrator’s retrospective perspective and can be found within the modernistic type of American New Journalism and in more experimentally written reportages from the most recent decades. The thesis demonstrates how both these ways of narrating may enable the reader’s narrative empathy with someone else than the experiencing reporter.The analyses and conclusions are mainly based on Swedish reportages from 1819 to 2014. This material is complemented with international reportages from 1903 to 2007, from Norway, Poland, Germany, Great Britain, Italy, Bohemia, Croatia, Belarus and the U.S. Accordingly, the dissertation demonstrates that traditions of reportage are primarily international and that the observations about narrative patterns within the genre are also relevant outside of Sweden.
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- Abrahamsson, Elin, 1983-
(författare)
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Enahanda läsning : En queer tolkning av romancegenren
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This doctoral thesis investigates popular romance, a mass-cultural genre with a large female audience. Popular romance is often considered ”lowbrow” and is referred to by terms such as ”porn” and ”garbage”. The female reader of this so called “sentimental trash” is often portrayed as naïve and unworldly. The thesis makes this derogatory view of the genre its point of departure, to investigate what cultural understandings of gender and sexuality the critique against popular romance entails. The thesis further investigates how these conceptions of gender and sexuality deviate from and challenge a culturally promoted and normative sexuality.The thesis consists of six chapters. The first chapter describes the selection of the empirical material and the theoretical and methodological framework. The empirical material consists of the three novels in the popular series Fifty Shades of Grey and the four novels and five films in the popular series Twilight. The thesis places itself within the field of feminist cultural studies and queer theory. It makes use of the concept of masturbation (both literal and figurative) as an analytical entry point and as a method focusing on the “here and now” of romance reading.The second chapter contextualizes the study by defining the term “popular romance” and by providing a brief historical overview of the genre. Previous research on popular romance is presented and discussed in relation to the derogatory view of the genre.The third chapter studies the Swedish media commentaries on Fifty Shades of Grey and Twilight to define how the rejected romance reader is conceptualized, and how this romance reader is presumed to be reading. This “romance reader” is thereafter discussed in relation to the Western historical discourse on masturbation, “female illness” and (women’s) private reading. The chapter closes with a discussion on the form of reading that the romance reader is associated with. This self-immersed, excessive and over-invested reading form is defined as “masturbatory”.The fourth chapter explores the act of romance reading when defined as a sexual activity. The romance community is compared to the “second wave” feminism of the 1970s in order to demonstrate how the genre establishes a separatist female community where relations, positions, and identifications are in motion, revealing both homoerotic and autoerotic elements to this homosocial context.In the fifth chapter, a close reading of the material is performed with a focus on the “here and now” of the reading situation. The dichotomy of desiring subject and desired object is problematized in relation to looks and gaze. The thesis argues that the romance text uses detailed and intimate descriptions to instill a sexual charge and to freeze the flow of the storyline in order to make room for constant erotic contemplation. These “frozen moments” and the repetitiveness of the genre are discussed in relation to theories of queer temporality. The romance text constructs a room “outside of time” that privileges the overwhelming pleasures of the “here and now”. This liminal room is not only available for the heroine and hero of the story, but for the romance reader as well.The sixth and final chapter ties together the main arguments of the thesis in an overarching discussion on how conceiving romance reading as a form of masturbation challenges previous research on popular romance and the gendering of and contempt for mass culture.
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- Aggeklint, Eva, 1966-
(författare)
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Från salong till iscensättning : Fotografiet i Kina
- 2015
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Föreläsningen handlar om hur fotografiet nådde Kina och hur mediet sedan starten influerats av västerländsk, inhemsk kinesisk kultur och japanska trender. Med utgångspunkt i porträtt och salongsfoto på 1840-talet följer föreläsnigen utvecklingen fram till dagens internationellt uppmärksammade iscensatta fotografi och diskuterar hur det kan tolkas och förstås.
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